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NEW-YQKK. 


the noted 
Bating CRH 1 / 

















































GrVM9 
.S3 5 


Entered, according to Act of Congress, in the year 1868, by 

WM. H. BISHOP AND MARVIN R. CLARK, 

In the Clerk’s Office of the District Court of the United States for the Southern 

District of New-York. 


John A. Gray & Green, 

Printet's , 

16 and 18 Jacob Street, New-York. 




The Skaters of America, 


TO WHOM 

THE TRIBUTE OF THIS DEDICATION IS FELT TO BE EQUALLY DUE, IN VIRTUE 
OF THEIR ACKNOWLEDGED PROFICIENCY IN THE EXERCISE TO WHICH IT 
RELATES, AND TIIEIR RELATIONS AS COMPATRIOTS WITH ITS AU¬ 
THORS, THE TREATISE WHICH FOLLOWS—THE FIRST AT¬ 
TEMPT, IT IS BELIEVED, AT A METHODICAL AND 
EXHAUSTIVE EXPOSITION OF THE PRINCI¬ 
PLES OF THAT AGREEABLE AND 
USEFUL ART—IS 

llcspcctfullir Inscribed 



















































































ESTIMONIAL. 


T have examined The Skater’s Text-Book, and consider 
it by far the most comprehensive work on Skating that I have 
seen. The practical details relating to dress , shoes, the skate 
and its adjustment, are minutely given. The beginner is pro¬ 
gressively led from the elements to the most difficult combi¬ 
nations. Especial attention is paid to the proper position of 
the body and its parts , for the execution of movements with 
grace. Great care has bee7i taken to describe the figures as 
clearly as words will allow; and many excellent cuts illus¬ 
trate the subject. As ice begins with frost , so the work fitly 
ends with rhyme— both well selected atid original. 


E. B. COOK. 






PREFACE. 


✓ 


The need of a thorough treatise upon the subject of 
skating has induced the authors of this work to under¬ 
take the task of furnishing to the skating fraternity, and 
those who desire to become skaters, a thorough, instruc¬ 
tive, and readable work on the subject, which will be in 
reality “ The Skater’s Text-Book,” and an authority 
which may be relied upon as correct. 

During the short time we had in which to prepare 
this work, we were afforded an opportunity of examining 
a number of works, both American and English, upon 
the art of skating; and if we had not previously known 
the necessity for an authority and a correct instruction 
book of the art, we certainly would have felt it after read¬ 
ing those books, which were evidently written by persons 
entirely unacquainted with the subject, with only one or 
two exceptions. The authors of this work are well ac¬ 
quainted with the art of skating and write knowingly. 
We are induced to say this not from a feeling of conceit, 
but to assure the novice that, by close attention to the 
instructions given herein, he may become a proficient 
skater. The movements are described in as clear and 
concise language as can be used, and many useful hints 
given which will be of infinite benefit in learning them. 



VI 


Preface. 


It was thought best to present to the reader’s attention 
the subject of exercise, especially touching upon those 
points which appertained more particularly to skating, as 
entertaining and instructive, and worthy a place in the 
memory of every skater. There are also several pages 
upon the “ Poetry of Skating,” in the perusal of which 
we ask the indulgence of our reader. Perhaps, during 
his journey in the cars through the cold winter weather, 
the skater may find subject for thought in the work, 
or when snugly gathered around the warm fire in the 
“ club-house ” on the pond, while the snow is falling in 
silentness without, the “ Poetry of Skating ” may not be 
inapropos . Or, some silent night, when the skater is 
patiently waiting for Jack Frost to knit the waters to 
gether with his icy fingers, and his blue nose rubbed 
against the window-pane causes a drawing “ sensibly 
near” to the fire, the skater maybe pleased to find “ The 
Text-Book ” in his overcoat pocket, and possibly peruse 
its pages with interest and profit. 

If we have “ left undone those things which we ought to 
have done,” the reader is reminded of the short space of 
time in which we were obliged to prepare the work, and 
we hope our derelictions will be overlooked. 

We have spared neither labor nor expense to make the 
work attractive as well as instructive, and w T e sincerely 
hope we have succeeded in our efforts, and the blooming 
health and consequent good spirits of our readers will be 
a reward dearer to us than any other which it is in the 
power of humanity to bestow. 


INTRODUCTION. 


EXERCISE. 

So little attention is paid to the all-important subject of 
exercise in this country, notwithstanding the many excel¬ 
lent facilities and extraordinary inducements held out, that 
works upon the subject of exercise, in its various forms, 
have literally gone begging to the people for their support 
and countenance. This, however, is not the case in other 
countries, where exercise is considered in its true light as a 
sine qua non of existence. The Germans, who are, by the 
way, among the healthiest and most industrious of our 
citizens, are noted for their athletic games; and it is a fact 
that they constitute the schools and societies devoted to 
gymnastics in this country. Germany surpasses all other 
countries in facilities for gymnastic as well as other health- 
promoting exercises—her gymnastic unions number two 
thousand and fifty-three , with two hundred thousand mem¬ 
bers. Is it not a sad fact that these Turnvereins of the 
Germans are the only schools of exercise which have been 
supported in our country ? 

Exercise is to the human body what fire is to the boiler. 
Inaction deadens the senses, stills the circulation of the 
fluids of the body, produces lassitude, and eventually 
disease and death. Remove the fire from the boiler, and 
it will cease to generate steam, the engine will cease its 
motion; for what matters the water in the boiler if the fire 
is not there? So deprive the body of exercise, and its func¬ 
tions cease to operate, the blood moves sluggishly through 


8 


Exercise. 


the veins, settles in the remote parts, stagnates, and disease 
is the result. 

Rheumatism, dyspepsia, nervous irritability, gout, which 
is a species of rheumatism, consumption, and a troop, of 
diseases of similar nature, are attendant on inaction and 
neglect of exercise. Yet, with these facts staring us in the 
face, we are more and more rapidly declining to the lassi¬ 
tude and that pampering to the depraved tastes of the 
senses which were the utter overthrow and ruin of the 
ancient Romans, once the most powerful nation of the 
earth. Action is life, and life is dependent on action. 

Exercise increases the size and strength of the bones, by 
favoring the deposition of animal as well as earthy matter, 
of which they are constituted. We know this from our 
own experience. The blacksmith’s arm is invariably mus¬ 
cular, the bones of the laborer are dense and strong, while 
those of the student, unaccustomed to exercise, and those to 
whom manual labor is unknown, are deficient in size and 
puny in strength. The cause of this effect is thus ex¬ 
plained : the tendons of the muscles are attached near the 
extremities of the bones; exercise of the muscles increases 
the action of the vessels of that part to which the tendons 
are attached, and thus increases the nutrition and size of 
this portion of the bone. 

In proportion as the strength and size of the bones are 
increased by exercise, the muscles attached thereto are 
developed and strengthened, and when the muscles are 
called into action the flow of blood in the arteries and veins 
is increased; and this flow of blood is necessary to the 
healthfulness as well as the strengthening of the muscle. 

Yet exercise should be carefully apportioned to the dif¬ 
ferent muscles of the body, and not taken, even then, to 
excess; for excess is abuse, and the abuse of exercise will 
render a curse in many cases greater than the penalty of 
inaction. Exercise too long continued, so as to produce a 
feeling of exhaustion, lessens the size and diminishes the 
power of the muscles, because it effects a strain upon them 


Exercise. 


9 


which they are inadequate to perform. This is a danger to 
which we are too liable, and its pernicious effects are not 
apparent until we lose the stimulus which has incited us to 
exertion, and then we are aware that the loss of material 
occasioned by exhaustion exceeds the deposition of matter 
which exercise has produced. Exercise should be indulged 
to the extent of fatigue, but never to the excess of exhaus¬ 
tion. “After toil cometh rest.” Exercise produces fatigue, 
fatigue calls for rest. Inaction produces exhaustion, or, as 
our attenuated and indolent loungers on sofas in confined 
houses would style it, ennui. Those only are truly happy, 
and enjoy the wealth of this world, who toil and exercise 
to the extent of fatigue, for consequent on fatigue is sweet 
rest, fatigue and rest giving health and vigor; and those 
who do not toil nor exercise are miserable, because un¬ 
healthy, puny in strength; and all the riches of the Indies 
are inadequate to the purchase of happiness under luxurious 
circumstances, which too often pamper to a sensual taste. 

Relaxation, therefore, must follow contraction. The ne¬ 
cessity of relaxation, when a muscle has been called into 
action, will be readily perceived by extending the arm, with 
a weight in the hand, for a few moments. It may also be 
seen in the restless and feverish excitement we evince after 
gazing steadily upon passing objects. We will note it in 
the sewing-machine operator, as also in the mechanic who 
is confined to the bench. Such employments call into 
action the muscles that support the spinal column in the 
erect, which is its only proper position, and the languor of 
exhaustion is muscular pain. It must be remembered, 
therefore, that the long-continued tension of a muscle en¬ 
feebles its strength, and thereby its action, and eventually 
destroys its contractility. 

The liability of indulging in exercises which develop one 
portion of the muscular system at the expense of the other, 
is another cause of abuse. On my mantel-piece is a clock, 
and as the pendulum moves to and fro I can see the whole 
internal organism pulsate to its movement. Theie is an 


10 


Exercise. 


equal strain upon all of the parts, and every wheel obeys 
the movement of the pendulum, and performs its duty in 
conjunction each with the other, inadequate to move alone, 
any more than the pendulum could vibrate any length of 
time without the assistance of the remainder of the con¬ 
struction of the time-piece. Over Niagara’s seething waters 
is stretched a bridge, composed of innumerable lengths of 
wires stranded together, and the secret of its strength lies 
in the fact that, as the loaded train passes over it, the strain 
is not on one or a hundred wires, but equally upon all of 
the small wires which compose the cables. It is unaccount¬ 
able to us that, when we are so closely surrounded with 
evidences of the fact that muscular exertion should be pro¬ 
portioned to every part of the system to be healthy and 
strong, most of those who do indulge in exercise carry 
any one exercise to an extreme, without the least thought 
of the necessity of applying the same physician to another 
part of the system. Witness, for instance, pedestrianism, 
calling into requisition the muscles of the legs, and the 
prize-fighter, or rather, in the delicate language of a refined 
generation, the cultivator of “ the manly art of self-defense,” 
in his use of the dumb-bells and clubs. Look at the glass- 
blower while he is forming a globe of glass. Every particle 
of air is proportioned to the inside surface of that globe, or 
an imperfection can be instantly detected, and the globe 
will lose its rounded perfection. As each part of the 
human body must act in conjunction with the other, it is 
an absolute necessity, to the production of uniformity in all 
the parts, that each receive its due proportion of exercise, 
otherwise what is gained in one is lost in the other. 

Pure air and a sufficiency of light are inestimable ele¬ 
ments of health while indulging in exercise. Plants that 
grow in the shade, under trees, or in a dark cellar are of 
lighter color and feebler than those that are exposed to the 
light of the sun. You may have noticed trees growing at 
the side and close to the walls of dwellings. The limbs 
grow from the house into the sun. When a boy, I used to 


Exercise. 


11 


wonder, being of a speculative nature, why the limbs of a 
tree, which stood for many years close to the wall of my 
father’s house, did not grow into the wall and push the tree 
over, and when the cause was explained to me my wonder 
hardly ceased. The whole animal as well as the vegetable 
kingdom is entirely dependent upon the sun for existence. 
People who live in dark rooms are greatly paler and less 
vigorous than those who inhabit apartments well-lighted 
and exposed to the rays of the sun. Pure air stimulates the 
blood supplied to the muscles, and lengthens the time we 
may devote to labor and exercise without fatigue and injury, 
and the purity of the air is dependent upon the rays of the 
sun. A memorable and sad illustration of this fact will be 
remembered by the reader in the history of the English 
prisoners in Calcutta, who were crowded into a room only 
eighteen feet square, partly under ground, and having but 
one small opening to the light and air of day. Of the whole 
number, one hundred and forty-six, who were confined in 
that apartment, from eight o’clock at night until six the 
next morning, but twenty-three were living when the jailer 
entered the room. In this case, the heat which was gen¬ 
erated produced a sudden and high fever, and the carbonic 
acid given out in breathing caused the awful death of the 
bulk of those human beings. Few persons can estimate the 
vital importance of pure air to a healthy state of the human 
system, and fewer still appear to give their attention to the 
laws of health in this regard. The morning is the best 
time for exercise, never after a meal, and seldom after the 
work of the day, unless those muscles are called into play 
which have been dormant during work. 

Exercise once commenced should be continued. The 
system needs this mode of invigoration as regularly as it 
requires nourishment by supplies of food. We think the 
reader will agree with us when we say that, as a general 
rule, exercise is taken in doses, as we take pills, to correct 
some defect in the system! We feel that a too close appli¬ 
cation to business has debilitated the system; we don’t need 


12 


Exercise. 


pills, for we are weak enough; the system is regular, the 
brow is cool, the skin is pure; but the body is sinking, the 
head is aching, the pulse is rapid, the step is nervous, energy 
is lacking, and we devote a day to exercise, then return to 
the same habits, and before a week has passed we relapse 
into the same state. It is no more correct that we devote 
several days to a proper action of the muscles and then 
spend one day inactively, than it is to take a proper 
amount of food for several days into the stomach and then 
withdraw this supply for a day. Exercise, therefore, should 
be regular, because the muscular system requires nourish¬ 
ment as much as any other part of the human body. 

Education of the muscles forms no inconsiderable part of 
the subject upon which we propose to treat in this work; 
for, if we would excel in any particular trade, profession, or 
recreation, a thorough education of those muscles most im¬ 
mediately concerned is a law of necessity paramount to all 
others. The power of giving different intonations in reading, 
speaking, singing, the varied and rapid executions in pen¬ 
manship, and all mechanical and agricultural employments, 
depend, in a great measure, upon the education of the 
muscles. “As the twig is bent, the tree’s inclined.” We 
should be very careful, therefore, to what school we go, if we 
expect to train those muscles to any degree of perfection, 
that they may receive a due proportion of exercise which 
will be neither lax nor excessive. It should be remembered 
that, in training the muscles for effective action, it is very 
important that correct movements be adopted at the com¬ 
mencement. If this is neglected, the motions will be 
constrained and improper, while power and skill will be 
lost. 

Frequent bathing is necessary, particularly to those who 
exercise frequently. When exercise is indulged in, even 
to a small extent, perspiration is promoted; and in order 
that the pores of the skin may be kept free to give oft* the 
healthy perspiration, the cuticle, or surface skin, should be 
cleared of the excrescence which stops that healthy action 


Exercise. 


13 


The debilitation of body we frequently feel on rising from 
our beds is, in nine cases out of ten, owing to the stoppage 
of the pores of the skin. A cool and damp skin denotes a 
healthy state of the system ; and how can the skin be cool or 
damp when the perspiration is stopped thus materially from 
.issuing ? It has been remarked by several writers on exer¬ 
cise, that it is wonderful what care and attention we bestow 
upon the health and cultivation of the brute creation, while 
man, the noblest work of God, who is king of the animal 
kingdom, neglects himself to such a culpable extent. What 
a picture of health, strength, and beauty would be that man 
upon whom is bestowed the degree of care in the amount 
and kind of food, exercise, sleep, and cleanliness a jockey 
shows in the training of his horse ! If half of the time that 
is devoted to the improvement of the minds of the rising 
generation in our public and private schools and colleges, 
and frequently carried to an alarming extent, would be given 
to the cultivation of the body, the amount of learning ac¬ 
quired would not be lessened, while the benefits derived 
would be doubled. Insane attempts have been made in this 
country in this direction; but they may claim only the 
redeeming trait of a hand on the guide-post of the road to 
health, pointing to the path we should take to secure health 
and consequent happiness, which is the best wealth the 
world can give. 

The benefits of exercise are twofold : First, to the body, in 
giving health to the whole system, and by the continuation 
of exercise maintaining health and vigor; and second, as a 
consequence of the first, rendering and maintaining the mind 
healthy and vigorous. The first proposition we have already 
considered, the second deserves also our attention. 

The ancients were particularly noted for their close appli¬ 
cation to vigorous and healthy exercises, and esteemed, as 
a fact of vital importance, the words of the ancient lawgivers, 
which were the same in substance with all important nations 
of antiquity, that “ no nation could be happy when devoid 
of athletic sports;” and it may be noted, also, that those 


14 


Exercise 


nations who held most firmly to this doctrine were the most 
successful at arms. Luxury, with its attendant vices, was 
deemed a curse, and the most stringent laws were made for 
the adoption of frugal habits. Under the laws of Lycurgus, 
children were reared with what we, in our luxurious time, 
would consider severity and hardship. At the age of seven, 
they were taken from their parents and delivered over to 
the classes for a public education. Not education, as we un¬ 
derstand the word; it did not imply cramming the mind 
with knowledge until the brain ached and the brow throbbed 
with pain ; but hardy and vigorous exercise was deemed 
paramount to the acquisition of knowledge. Every institu¬ 
tion, in fact, tended to harden the body and sharpen the 
mind. Morality was deemed of vital importance, and was 
most stringently enforced. The Athenians, under Solon, 
were subjected to laws which tended in the same direction, 
and the consequence was a remarkable happiness, an elasti¬ 
city of spirits, vigorous and intelligent minds, and a pure 
code of morality, which w r ould put to shame the morals of 
this enlightened age. Not only to the Greeks does this 
apply, but also to the Romans, and those particularly whose 
origin was anterior to either. It is to be remarked that, as 
long as a proper regard was paid to exercise, these nations 
maintained their supremacy; but the date of their degrada¬ 
tion to luxury was the date of the commencement of their 
downfall. 

The health and vigor of the mind depend upon the health 
of the body. The Grecians, who were particularly noted 
for their manly sports, were* as particularly noted for their 
nobleness of character and beauty of mind, from which we 
argue our proposition. 

Of the weak and sickly we do not expect, nor will we 
often find, heroic patriotism, manly courage, great and noble 
actions, or inflexible love of truth. Luxury is antagonistic 
to exercise, and continually prompts to inordinate selfish 
gratification and sensual desires, and eventually makes a 
slave of the devotee to his own base passions, prompted, en- 


Exercise. 


15 


couraged, and pampered by luxury. Says Rousseau, “All 
the sensual passions take up their abode in effeminate 
bodies, and are the more irritable in proportion as they are 
less capable of being gratified. A feeble body enfeebles the 
mind.” 

Volumes might be written upon this interesting and im¬ 
portant subject, and quotations given directly to the point; 
but it is not our desire to inflict the reader with a treatise on 
exercise, further than to impress him with an idea of its 
vital importance to the sustenance of life, health, and happi¬ 
ness; and if we have accomplished our desire, we will con¬ 
gratulate ourselves, and leave him with the words of Dr. 
Armstrong, who gives a point we have not room to speak 
more fully upon: 


“ In whatever you sweat, 
Indulge your taste. Some love the manly toils, 

The tennis some, and some the graceful dance; 
Others, more hardy, range the purple heath 
Or naked stubble, where, from field to field, 

The sounding coveys urge their lab’ring flight, 

Eager amid the rising cloud to pour 

The gun’s unerring thunder; and there are 

Whom still the mead of the green archer charms. 

He chooses best whose labor entertains 

His vacant fancy most; the toil you hate 

Fatigues you soon, and scarce improves your limbs.” 


SKATING, AS AN EXERCISE, SUPERIOR TO ALL OTHERS. 


The particular exercise which brings into play the most 
of the muscles, without any attendant counteraction of the 
other muscles or functions of the body, is undoubtedly the 
most healthy and beneficial; and this we claim for skating. 

The mind exerts a wonderful influence upon the tone and 
contractile energy of the muscular system. It is^ therefore, 
very important that the mind should be pleasantly occupied 
during exercise, in order that we shall receive the full bene¬ 
fit of it both to body and mind. This fact may be well illus¬ 
trated by the hunter and the fisherman, who, with unweary¬ 
ing patience, pursue their game for hours without fatigue 
when in sight, while those who are not interested in the 
sport, having no mental stimulus, are dispirited and weary. 
Let him lose sight of his game after hours of pursuit, and a 
spirit of languor creeps over him; but when it again appears 
in sight, the weariness is dispelled, the fatigue is forgotten, 
and he presses on with renewed energy and recruited 
strength. 

A good illustration of this principle is found in the retreat 
of the dispirited and defeated French army from Russia. 
When no enemy was near, they possessed hardly strength 
sufficient to carry their arms; but no sooner did they hear 
the report of the Russian guns than a new life pervaded 
them, and they wielded their weapons so powerfully that 
the enemy was repulsed, after which there was a relapse to 
their former weakness, and prostration followed. The cause 
is, that a person acting under a healthy mental stimulus will 
make exertion with less fatigue than he would without this 


Skating as an Exercise. 


17 


incentive. In the former case, the nervous influence is in 
full and harmonious operation; while, in the latter, the mus¬ 
cles are obliged to work without that full nervous impulse so 
essential to their energetic action. 

A healthy and vigorous occupation of the mind being es¬ 
sential to beneficial exercise, invalids are recommended to 
ride out as often as possible, not only for the benefit of the 
invigorating air, but that the mind may be under a healthy 
action in the observation of passing objects. But riding 
does not give exercise to the muscles. Dancing, when pro¬ 
perly indulged in, may be beneficial to the system, but its 
pernicious effects more than counterbalance the opposite. 
Rowing is very conducive to the development of the arms 
and chest; athletic sports as generally indulged in, leaping, 
jaculation, boxing, climbing, walking, running, balancing, 
lifting, and carrying, as well as other sports, have their 
peculiar benefits on portions of the body; but none have the 
universal action on all parts of the system that skating in¬ 
duces. 

Skating most consummately occupies the mind in its per¬ 
formance not only with the panorama of surrounding ob¬ 
jects, but with the intricate movements of the skater. The 
whole muscular system is brought into active play in the 
beautiful and almost involuntary action of the body ; and the 
skater sails over the surface of the icy floor as airily as a 
bird upon the wing, with more than the rapidity of the little 
craft that kisses the bosom of the lake. Invigorated with the 
healthful exercise, he drinks in the pure and bracing air of 
heaven; and the mind, under these circumstances, possesses a 
buoyancy which none but the skater may enjoy. While 
the tender plants that grow in the hot-beds of luxuriant 
homes are languishing on soft cushions and complaining, 
over the unhealthy fires, of the bitter cold, our active skater, 
flushed with the excitement of the exercise, and beautiful 
with the roseate hue of health, is glinting over the ice on the 
steels in a perfect revelry of enjoyment and a carnival of 
fun. 


18 


Skating as an Exercise. 


Authorities, in corroboration of our assertion, have been 
handed down to us from generations past by the most learned 
medical practitioners, who have devoted that portion of 
their time and talents to the subject of exercise which every 
man, and more particularly every physician, should give. 
Salzmann, in his incomparable work on exercise, says, in 
reference to skating: “ I am come to an exercise superior to 
every thing that can be classed under the head of motion. I 
know nothing in gymnastics that displays equal elegance ; 
and it excites such divine pleasure in the mind of the per¬ 
former that I would recommend it as the most efficacious 
remedy to the misanthrope and hypochondriac. Pure air, 
piercing, bracing cold, promotion of the circulation of the 
different fluids, muscular exertion, the exercise of such vari¬ 
ous skillful movements and unalloyed mental satisfaction, 
must have a powerful influence not only on the corporal 
frame of man, but on his mind likewise. Frank wishes that 
skating were introduced into universal practice, as he knows 
of no kind of motion more beneficial to the human body, or 
more capable of strengthening it.” 

Campe, another authority, says, concerning skating : “ I 
know not a more pleasant or more beneficial exercise, and 
every child of eight or ten years old, boy or girl, may and 
ought to learn it.” 

I think it is nearly universally conceded by the medical 
fraternity that skating is so far beneficial to the system that 
it is worthy of recommendation. It has not been so con¬ 
ceded by physicians in our country until within a few years 
past, more especially as concerning women. The objections 
urged were that the exercise was too violent; that the sys¬ 
tem was too much exposed to the coldest weather, and there¬ 
fore too liable to colds ; and that it was dangerous, exposing 
the body to falls. 

The first objection we leave to any body who is acquainted 
in any degree with the art of skating to refute. 

In this country, where woman is regarded more particu¬ 
larly than in any other land, except perhaps Turkey, as a 


Skating as an Exercise. 


19 


delicate organization, incapable of sustaining any amount of 
burden because she is the weaker vessel, it is not strange to 
us that such an opinion obtained; but it is nevertheless, at 
the present writing, a well-known fact that woman is capable 
of the same amount of physical culture, in proportion to her 
size, as man. In other countries, where woman is regarded 
with feelings of less delicacy, she toils with the men, and per¬ 
forms the same labor that men are accustomed to; and it 
would, perhaps, astonish us to see the heavy burdens they 
will carry and the amount of labor they daily accom¬ 
plish. 

Woman is more susceptible to sensibility than man, as all 
the parts and tissues of which she is formed are finer and 
more delicately strung; yet she is more agile and supple, as, 
in proportion as the size of animals decreases, agility in¬ 
creases. Being, therefore, of a livelier organization, it in¬ 
duces our opinion that women should exercise more than 
men, more especially as their habits and the manner of their 
lives, particularly in our land, confine them to the house. 
They should exercise in the open air, as pure air is what 
they most need in connection with exercise; and as skating 
is the most beneficial, we would recommend it, in preference 
to all other kinds of exercise. 

Concerning the objection of cold permeating the system, 
we consider the liability as a recommendation rather than 
otherwise, for it is an inducement to exercise ; and the reader 
is well acquainted with the fact that persons whose labor 
confines them to the open air and exposed to the inclemen¬ 
cies of the seasons are less liable to colds than those who 
are more delicate in their habits. The rule applies as well 
to those who exercise frequently in the open air. Of course, 
as Deity only is perfection, we expect the art of skating to 
have its objectionable points, in the natural order of things ; 
but if skaters will exercise until overheated, and then remain 
at rest, either sitting or standing, until the system is as chill 
as an icicle, we hope that the exercise of skating may not be 
condemned for individual indiscretion. 


20 


Skating as an Exercise. 


Concerning the third objection, we have to say that, dur¬ 
ing an experience of many years, we have never known of 
an instance of a fall upon the ice which resulted injuriously. 
Of course, the liability of a fall adds zest to skating, and the 
skater knows that a fall may give some immediate pain ; but 
there is nothing further, except, perhajDS, in very unusual 
cases. As a case in point, let us ask, do you avoid travel by 
railroad because there is liability of danger ? 

Let our women and men employ every opportunity to 
indulge in the exercise of skating. Let our overconsiderate 
mammas induct their delicate daughters in the health-giving 
sport, instead of rearing them like hot-house plants—in a 
temperature the evenness of which is now their first con¬ 
sideration—lest the paleness of confinement change to the 
pallor and flush of consumption; and let the boys be boys; 
and both sexes revel in the exercise till the roses of health 
replace the hue of the lily, and the rising generation will 
live to bless them, and cherish the memories of their sensible 
parents. 

We can say no more, save that we indulge in the exercise ; 
and that there is a branch from the parent stem, a delicate 
little flower, more valuable to us than life itself, and whose 
health and happiness are our first consideration in life, and 
she accompanies us in our skating excursions, and the hue 
of her cheeks outvies the rose’s bloom. 


SKATING PAST AND PRESENT. 


Where or when skating first originated is not positively 
known, but that it is of ancient origin we know from the 
oldest works we now have in our possession. We read of 
bones of animals, and also of hard-fibred wood, being 
secured, in different manners, to the feet, and used to propel 
the body over the surface of the ice. But until the present 
century skates were used most particularly to facilitate 
traveling in the winter season ; and hence, almost the first 
authentic account we have of the skate is in Germany, 
where the market-people carried their produce to market, 
over the ice, upon skates. As civilization and the arts pro¬ 
gressed, improvements were made, and competition and the 
emulative desire to excel introduced themselves, and the 
advancement of the art commenced. 

In our own country, skating is an institution of recent 
date, having gained its popularity within the recollection of 
most of our youngest skaters. Indeed, facilities were not 
offered, no inducements were held out, and until lately this 
important exercise was in embryo. The opening of the 
Central Park ponds to the public was the first popular start 
of the art of skating in New-York, and other cities have 
also some such experience. Less than twenty years ago, 
we amused ourselves at the expense of the youngsters who 
scraped themselves on one foot in the gutters, and on the 
ice of small ponds in the suburbs. Now we find them 
crowding the many large ponds which nearly every city pos¬ 
sesses. Twenty years ago, the acme of perfection in the art of 
skating was the “ Figure Three” and “ Spread Eagle,” while 


22 


Skating Past and Present. 


the sight of the most rapid skater opened the eyes of the 
youngsters so wide you would think they never could close 
them again ! 

How different is it now ! Regular organizations, devoted 
to the promotion of the art, have sprung up amongst us with 
the same fairylike rapidity that permeated the popularity 
of skating; and with its advancement, its necessary require¬ 
ments have called into life new trades and given impulse to 
the old. How the small beginning has increased and main¬ 
tains gigantic proportions. The seed sown in good ground 
“ has increased an hundredfold,” and from one or two fancy 
movements we have risen to many. 

We no longer behold the skater scraping the surface of 
the gutters on one foot, or rattling over the ice with the 
clatter of an ice-cutter, as though the accomplishments of 
skating consisted in making as much noise as convenient 
and practicable; but, circling in beautiful curves, now in, now 
out, winding intricate webs and graceful circles, speeding 
hither and thither almost as silently as a shadow, he wan¬ 
tons on the ice like a fairy-boat over the surface of the sum¬ 
mer sea. 

What skating will be in the course of twenty years, 
judging by its progress during the past twenty years, we 
dare not say, but feel assured that it can not retrograde. 
As every winter advances, new facilities and fresh induce¬ 
ments are held out, while the popularity of skating, as its 
benefits become known, rapidly increases. 

Let us hope that the art of skating may continue its pro¬ 
gress in popular favor, and never sigh for new worlds to 
conquer. 


THE SKATE. 


The first ice-skates used in this country were of German 
manufacture, and consisted of iron or steel runners, which 
culminated in a beautiful twist of several windings in front 
of the toe, the end of which was ornamented with a brass knob. 
That part of the runner which touched the ice was grooved 
with a “ gutter,” and the runner surmounted by a wooden 
top, in the heel of which was an iron point, afterward 
changed to a screw. The mode of fastening the skate to 
the foot was by several straps, which wound round the foot 
and ankle, and were often stuck full of sticks to tighten 
them to an excruciating degree. These skates were called 
“ turn-overs ,” and had a long lifetime. 

The English skate, the runners of which cut off short at 
the height of the wooden top, were considered rather dan¬ 
gerous on account of the sharpness of the toe-piece, but 
were nevertheless adopted, as was also the wide strap 
across the foot, with an improved heel-strap. 

Rockers next came in vogue ; shoe-skates were popular; 
and then iron tops made their way; and as frosted feet be¬ 
came a malady with tight strappings, and curses loud and 
deep were cast in the face of skating, mechanics found it 
necessary to devise some new method of fastening the 
skate to the foot, and genius invented clamps/for heel and 
toe, clumsy and impracticable at first, but afterward im¬ 
proved, until we have reached what we now consider per¬ 
fection in the “ club skate.” The height, thickness, curve, 
and length of the runner are still matters of controversy 
and fancy, but we think we have reached the final point. 



24 


The Skate. 


Certainly, the “ club skate” is a wonder when compared 
with the outlandish Dutch “ turn-over” ; but who may tell 
if, in ten years’ time, our admired skate may not be held up 
to derision, as we now hold up the old style of Dutch skate, 
for the amusement of the present generation ? 



The old-fashioned Tarn-Over. 



The New-York Club Skate. 


To American mechanics, for their invention of this “ club 
skate,” the skating fraternity of the whole world are under 
eternal obligations; not only because of their production of 





















The Skate. 


the most scientific and practical skate, but, being constructed 
with a view to the avoidance of all straps, the greatest 
objection to the old style of skate has been counteracted 
by the application of clamps on the sole, and a button at 
the heel, fitting snugly and securely in a plate. 

The greatest objection to the old skate of German and 
English manufacture is the straps, which are necessarily 
drawn to such an extreme tightness in securing the skate 
safely to the foot—literally placing that member in a vice 
worse than a “ shoemaker’s jail”—that the ligaments and 
muscles of the feet, as well as the veins, are compressed to 
an alarming degree, and, as a consequence, the blood ceases 
its circulation, pain and coldness are quickly generated, the 
foot, being cramped to an unnatural degree, can not perform 
its functions properly, and frosted feet, ill health, and attend¬ 
ant deleterious consequences are the result. The numbness 
of the member hinders the discovery of the injurious effects 
of the tight strapping, and it is only after the removal of 
the vice that the skater experiences the injury done. 

It is an important law of health that the muscles should 
not be compressed, even in the slightest degree; for com¬ 
pression prevents the free circulation of the blood to the 
muscles, thereby attenuating and enfeebling them, and even¬ 
tually destroying their action and usefulness altogether. 

It would appear unnecessary to set forth this fact with 
so much emphasis to a reasoning mind; but the almost uni¬ 
versal use of the strap-skate, because of its cheapness in 
price, and ignorance or recklessness of the laws of hygiene, 
have produced the adoption of this injurious article to such 
an alarming extent that a few facts will not be out of place, 
if not absolutely necessary, to impress upon the mind of the 
reader the importance of attention in this particular. 

As an instance of the injurious effects of compression of 
the muscles of the feet, we would refer to those of the wo¬ 
men of China, which are compressed by bandages to such 
a decree that the foot can not attain more than one third 
its natural size. The result is an attenuation of the mem- 


26 


The Skate. 


ber, and almost utter destruction of its use ; what is lost to 
the muscles of the foot is accumulated in those of the leg, 
which is necessarily deformed ; the gait of the woman is the 
waddling of the duck, instead of the poetry of motion we 
expect in women; and, exercise being thereby impracticable, 
feebleness of the body produces disease. 

The injurious effects of the strap-skate must be apparent 
to the reader without further illustration, and we hope they 
will be appreciated by our enlightened people to such a de¬ 
gree that the adoption of some other fastening will become 
universal. 

The “ club skate,” a cut of which is given on page 24, is 
the best in use, and is secured to the foot by two clamps, 
which run in a groove on the under side of the sole, and 
are drawn together by a steel screw, which is moved by 
means of a key resembling the key of a clock. The clamp, 
as shown on the outside of the skate, is the size of the thick¬ 
ness of the sole, sharply ribbed inside for security in fasten¬ 
ing ; in the heel of the boot is securely placed a plate, in 
the centre of which is cut a hole to admit a button in the 
heel of the skate, which, when the skate is placed at a right 
angle to the foot, easily slips in, and, turning the skate in 
the direction of the foot, fastens it in such a manner that it 
can not get out of place a hair’s-breadth. After fastening 
the heel, the skate is adjusted to the foot, the clamps turned 
up securely, and the skate is immovable. 

The rapidity with which it is applied is a great recom¬ 
mendation, and its security is indisputable. 

It may be interesting to the novice to know that the 
runners of the learner’s skates should not be as great a 
curve, or “ rocker,” as the proficient’s—it certainly will be 
profitable to know it—and we will, therefore, explain that the 
more “ rocker ” the skate is, the less of the runner will touch 
the ice; and on the principle that a body will spin longer on 
a fine than on a blunt point—as, for instance, “pirouettes ” 
are performed on the toe—the short curve, or great “ rocker,” 
is necessary in spins and short circles, as “ threes ” and 


Adjusting the Skate. 


27 


“ eightswhile the long curve, or less “ rocker,” touches the 
ice about half of its length, and is therefore safer and better 
for the learner. 

Straight and long runners, full twice the length of the 
foot, are used on the ice in Germany for rapidity and ease 
in traveling; and although it may seem ridiculous, still it is 
practical, and we would advise the use of a long and straight 
runner for rapid skating—of course not of the outlandish 
length of the Dutch skate, but approximating to it. 

A “ gutter ” in the runner gives security of footing, pre¬ 
venting the feet from sliding sideways; but we question 
whether a “ gutter ” should not be altogether discarded even 
by the learner, as it tends to impede the movement; and as 
the runner will wear dow T n and leave a flat bottom in a short 
time, it is as well for the novice to learn the use of the flat 
skate at first. On glassy ice, however, the runner needs a 
sharp edge, and a “ gutter ” is not out of place. 

Skates, even of the best manufacture and finest steel, re¬ 
quire grinding occasionally if continually in use, as the edge 
wears away and gives an uncertain footing. 


ADJUSTING THE SKATE. 

There is a correct, as well as an incorrect, way of adjusting 
the skate, and for the guidance of novices we give the fol¬ 
lowing direction: 

A line drawn from the centre of the heel to the centre of 
the ball of the large toe of the foot, is the position the run¬ 
ner of the skate should occupy in relation to the foot. 
Within this line lies the strength of the foot, and an uneven 
balance is the result of deviation from this rule. 



DRESS OF THE SKATER. 


In dressing, it must be remembered that the body requires 
less covering when exercising than is required when in 
repose. Overconsiderate people are very liable to err in 



this respect, to the detriment of health. No exercise pro¬ 
motes perspiration so profusely and uniformly as skating; it 
is, therefore, necessary when at rest, after exercise, that e°xtra 



Dress of the Skater. 


29 


clothing be placed upon the body while remaining in the 
cold atmosphere. 

The skater should be warmly clothed, but not over¬ 
burdened with clothing. Overcoats, cloaks, shawls, muffs, 
furs, and hoop-skirts should be discarded by the skater, as 
not only useless and incumbering the free movement of the 
body, but, by promoting a too profuse perspiration, endanger¬ 
ing the health. 

Heavy flannels should be worn next the skin, as they 
absorb the perspiration more rapidly than any other material, 
and the wearer is less liable to colds. 

Skating does not necessitate any unusual change in the 
dress; men and boys should be dressed as usual in the 
winter season, leaving off the overcoat; women and girls 
should wear dresses reaching to the ankle only, as a long 
dress will hamper the movement, and often throw the skater. 
Unless a woman desires to make a display of her motive 
power , she will discard hoops altogether in skating, and as 
they are opposed to graceful movement, they should not be 
worn. 

The limbs should be unincumbered, to allow their free 
use, and therefore the skater’s dress should be as loose as 
consistent with comfort and reason. Corsets are very in¬ 
jurious during the hours of exercise, and should not be worn 
by the skater if she has any regard for her health, as they 
prevent respiration and are dangerous in falls. 

Frequent bathing is essential, especially to those who 
skate frequently, and as a precaution against colds it is ad¬ 
visable to bathe the limbs before skating. 

We wish to impress upon the mind of the skater one very 
important precaution, which should be remembered at all 
times : Never sit down nor stand in repose in the cold air 
when overheated ', unless extra clothing is placed upon the 
body, and not even then if avoidable. Colds are much more 
dangerous to the system than any disease, and the liability 
to cold should be avoided by every precaution in our power. 
Remember, therefore, never sit down nor stand in repose 
when overheated. 


30 


Dress of tiie Skater. 


Profuse exercise, by those who are unaccustomed to much 
exercise, is liable to stiffen the muscles, and thereby give 
pain in moving. To counteract this stiffness and give elas¬ 
ticity to the muscles, we give below a recipe for a prepara¬ 
tion which is much used by danseuses and.persons accustomed 
to exercises which require great activity of the limbs : 


Fat of the stag or deer. .8 oz. 

Florence oil, (or olive oil,). 6 oz. 

White wax.3 oz. 

Musk.1 grain. 

White brandy. £ pint. 

Rose-water...4 oz. 


Put the fat, oil, and wax into a glazed earthen vessel, and 
let them simmer over a slow fire until they are assimilated; 
then pour in the other ingredients and let it cool, when it 
will be ready for use. 

This mixture, if frequently and thoroughly rubbed upon 
the stiffened joints on retiring to bed, will give a remarkable 
degree of elasticity to the muscles, and counteract the bad 
effects of overexercise. 








THE SHOE. 


A laced shoe, coming up well on the leg, is next in importance 
to the skate. The club skate necessitates a laced shoe or 
boot, as there are no straps to keep the foot from slipping 
out of the boot. The shoe commonly used at the present 
time by skaters is not the best, as the rib over the instep 
almost invariably chafes it and makes it sore. Thousands 
of skaters will testify to this fact, and tell of running sores 
on the instep in consequence of the unavoidable seam in the 
shoe of the common pattern. 

The best shoe for skaters’ use is 



The Skater’s Brogan, 


which is made like the “double tie,” but higher on the 
ankle. The upper, or “ vamp,” terminates in a tongue which 
reaches to the top of the shoe, and the “quarter” laps over 




32 


The Shoe. 


the ankle and low down over the instep, instead of being 
sewed to the upper, as in the regular walking-shoe made in 
the style of the “ Oxford tie.” This is the most comfortable 
shoe worn, and allows an elasticity to the foot which the old 
walking-shoe will not give. Shoemakers generally suppose 
that a skating shoe should be made very heavy and unyield¬ 
ing ; the skater should, therefore, always give minute in¬ 
structions when ordering his shoes, if he expects to procure 
a shoe which will fit well and at the same time be comfort¬ 
able and practical. A certain stiffness is necessary, but the 
shoe should be pliable and soft to a reasonable degree. 
Calfskin is preferable, the shoe to fit snugly, laced low on 
the upper, made high on the leg, and the heel to be mode¬ 
rately low. 

Avoid a high heel, as it gives the body an unnatural 
position, throwing the skater too much forward, and, there¬ 
fore, rendering frequent falls unavoidable. 

A common error among skaters is, too tightly lacing the 
shoe. A stiff ankle is not, as is supposed by many, neces¬ 
sary to a skater; on the contrary, the ankle should be 
allowed to move freely in every direction. The leg should 
not be bound too tightly, or the stiffness of the material 
composing the “ quarter” of the shoe will hinder the free 
movement of the ankle. 

To those who are suffering from the effects of the old 
style of shoe, we would say that a tongue of heavy cloth 
laced over the ankle, under the leather tongue of the shoe, 
will in some measure counteract the injurious effect of the 
rib over the instep. 


THE ANKLE. 


WEAKNESS OF THE ANKLE GENERALLY IMAGINARY. 

The tendency of the learner, after a fall, or a faux pas 
of any kind, to look at his skates first, and then for a “ trip ” 
in the ice, before starting again, has become proverbial, not¬ 
withstanding its supreme ridiculousness. 

To place upon the shoulders of others the faults which 
we should ourselves bear, is characteristic of the human 
family, and accounts for excuses being rendered for our own 
mistakes. 

In this way the imaginary weakness of the ankle has 
originated, and is so deeply impressed upon the minds of our 
young skaters, particularly women, that it is acknowledged 
to be a fact. 

Is it not singular that we never hear of the weakness of 
the knee or shoulder, or other muscles which have almost 
an equal share in the support of the body while skating ? 

We acknowledge the liability of the foot to turn out or 
under, especially upon a high runner; but this is no 
evidence of the weakness of the ankle, but rather proof of 
the loss of balance in the body. Of course, the ankle may 
be weak from neglect of use, and from the long continuance 
of a reclining posture; but to tell us that a muscle which is 
in almost constant use in every avocation of life is so weak 
that, when a mere trifle more of strain than is ordinarily its 
duty to bear is applied to it, it turns, in its inadequacy to 
perform its functions in the support of the body, is ri¬ 
diculous. 


54 


The Ankle . 


For the better illustration of our idea, we give an engrav¬ 
ing of 



The Ankle and Foot. 


The necessary elasticity of the ankle undoubtedly con¬ 
tributes to the idea of weakness, but it will be readily per¬ 
ceived when we so clearly discover that skating can not be 
done with a stiff ankle with any degree of grace or comfort. 

Shall we then, therefore, conclude that, in most cases at 
least, the weakness of the ankle is imaginary, and the occa¬ 
sional turning of the foot is owing to the loss of balance of 
the body ? 

By looking at the above engraving of the foot, the reader 
will perceive it is composed of small bones, which are con¬ 
nected by ligaments, effectually and securely binding them 
together; and we would call attention again to a fact 
already mentioned, the truth of which will readily be per¬ 
ceived by an examination of the engraving, that straps are 
seriously injurious. The effect of a strap over these bones 
must be too apparent to require further explanation. 



LEARNING TO SKATE. 


FIRST STEPS. 

Skating, like swimming, requires confidence in our own 
ability to perform; and when that is attained, nine tenths 
of the work is done. You may stand on the shore hesitat¬ 
ingly while your companions are reveling in the waters, 
knowing that nothing could be simpler or require less exer¬ 
tion than swimming, yet you dare not venture—you are 
afraid. One plunge, and, like Caesar, the Rubicon is passed 
and your indecision of mind overcome. So it is with skat¬ 
ing. Let the learner be fully inspired with confidence 
in his ability to perform, and he goes forward from “ con¬ 
quering to conquer;” but the longer he stands shivering on 
the shore, the further his confidence recedes: 

“ The keen spirit 

Seizes the prompt occasion—makes the thoughts 
Start into instant action, and at once 
Plans and performs, resolves and executes.” 

“ Whilst timorous knowledge stands considering, 

Audacious ignorance hath done the deed.” 

There are those who, after a half-hour’s application, skate 
quite well, while others will work diligently for weeks with 
scarcely any perceptible improvement. The cause of this 
difference is simply lack of confidence. Possess yourself, 
therefore, of that necessary confidence, and w T e will teach 
vou to skate in a surprisingly short space of time. 

It has frequently been observed, by proficients in the art, 


30 


Learning to Skate. 


that skating can not be taught by any work on the subject; 
that the general principles only, and the names of the dif¬ 
ferent movements, with their distinctions, are alone com¬ 
municable in print. 

We beg to differ with our learned brethren, and propose 
to take our readers from the first rudiments to the graduat¬ 
ing degree in skating, with what success our readers may 
in the future tell. 

To accustom the learner to the use of the skates, and im¬ 
part a degree of confidence, he should first put on his 
skates in the house, and thoroughly practice, by slow 
degrees, and with all possible ease, the following exercises 
upon the floor, in doing which he must subdue all inclina¬ 
tion to rapidity or haste, practicing each step until perfect, 
from a half-hour to an hour each day. 


RULES FOR THE BEGINNER. 


PRACTICE IN TIIE HOUSE. 

I. Commence by standing upon the skates with the feet 
at a right angle to each other. Stand erect, with the body 
leaning slightly forward, the arms dropped easily and 
gracefully at the side, the eyes gazing at an object about 
fifty feet in advance of the body, the legs touching eacli 
other from the ankle up, the shoulders thrown back, and 
the breast expanded full forward. 

Do not look down at your skates ; if you do, it will 
throw you out of position and balance immediately, and 
give you an ungainly appearance. JVo good skater ever 
looks down at his feet while skating. 

IT. Place the heel of the right into the hollow of the left 
foot; take one short step forward upon the right foot, at 
the same time swinging the body well forward upon the 
right, making that foot bear the weight of the body. 

III. Bring the heel of the left to the hollow of the right; 
advance one step with the left foot, throwing the body for¬ 
ward with its weight upon the left. 

This movement constitutes “plain forward skating.” 
Practice this movement thoroughly, until it can be done 
with ease and without liability of the body swinging to 
either side so as to lose the perfect balance. If your left is 
weaker than your right foot, and you have a disinclination 
to use it, use it oil the more , teach it to perform its work 
until it is as proficient as the right. This is an important 
rule; observe it well. You will regret it if you do not. 


38 


Rules for the Begixxer, 


There is no such thing as a one-sided proficient skater ! 

After perfecting yourself in this movement, you must do 
it more rapidly until you have reached a run, remembering 
to keep the skate under the foot, and do not let the foot 
touch the floor. Keep the toes turned well out, and the 
skate square under the foot. Practice this until you are 
perfect in it, when you are ready for the next movement. 

IV. Place the heel of the left opposite the hollow of the 
right foot, with the weight of the body upon the left. Raise 
the right and carry it in front of and over the left to the 
opposite side, throwing the weight of the body upon the 
right foot. Raise the left and carry it to the first position. 
Repeat this movement moving in a circle, going from right 
to left. Reverse the direction by placing the left over the 
right foot and walking in a circle. 

This movement is called the “ lap-foot forward 

V. Stand with the toes turned in and the feet at a right 
angle. Raise the left foot about five inches from the floor, 
slightly bending the knee, carrying the left well over and 
in front of the right, and placing it on the floor in this posi¬ 
tion, throwing the weight of the body upon the left. Raise 
the right and carry it well over and in front of the left. 
Continue this movement, and you have what is called the 
“ cross-roll forward.” 

Practice this movement well, as it needs much practice 
to accustom the ankle to the turning in of the foot. 

VI. Stand with the heel of the left opposite the hollow of 
the right foot, the weight of the body upon the right. Raise 
the left and carry it back of and well across the right, let¬ 
ting the weight of the body come upon the left foot. Raise 
the right and carry it to the first position. This will take 
you to the left, continuing which will form a circle. 

Perform this movement in the opposite direction by plac¬ 
ing the right behind the left, instead of the left behind the 
right. 

This movement is called the u lap-foot backward” 

VII. Stand with the heels together, the feet at a right 


Bulks for the Beginner. 


30 


angle, the weight of the body upon the right. Carry the 
left back of and well over to the opposite side of the right. 
Throw the weight of the body upon the left, raising the right 
foot and carrying it around back of, well over, and to the 
opposite side of the left. Practice this well until you can do 
it with ease. 

This movement is called the “ cross-roll backward 

Practice these movements thoroughly before going upon 
the ice, as they will materially aid you in skating. 


RAPIDITY VERSUS GRACE. 


Rapidity is very pleasing, but it is a noted fact that our 
most artistic, and particularly our graceful skaters are light 
in their movement without rapidity. Brilliancy and dash are 
too often indulged by skaters, and should, to a reasonable 
extent, be avoided. Grace is antagonistic to rapidity. We 
expect an aerial abandon in the skater, more especially in 
women, accompanied by uniform pliability and ease; and 
when the movement is rapid to excess, it invariably im¬ 
presses upon the mind of the spectator an undue and painful 
sympathy for the performer, and always leaves a bad im¬ 
pression. 

A gracefid movement must be accomplished without any 
apparent effort. Rapid skating in general, therefore, which 
necessitates the employment of apparent force, must be 
ungraceful. 

Under this head, we would also notice a common fault of 
learners, which is superinduced by an overeagerness to ac¬ 
complish a second step before the first is properly learned. 
It is rapidity in motion or a too quick movement. Learning 
to skate must be amenable to the same laws as learning any 
other difficult exercise, and should be commenced and con¬ 
tinued scientifically and methodically. 

Be careful, therefore, that you thoroughly learn one step 
before commencing another, and that you learn each step 
slowly, as precision and perfection can only be accomplished 
by a close observation of the peculiarities of each step. 

Remember one precaution, as it is almost invariably in 
learning that we acquire faults which, when once acquired, 
oftentimes require years to eradicate : “ As the twig is bent, 
the tree’s inclined.” 



POSITION OF THE BODY, HEAD, HANDS, AND SHOULDERS. 


A position of ease, natural, unassumed, and especially 
entirely devoid of affectation, is the attitude a skater should 
possess. 

The body should be erect, but yielding, and kept generally 
square to the front; but the skater should remember that 
“ the lines of business are straight , while those of pleasure 
are curves .” The body, therefore, should be easy and pliable , 
with no degree of stiffness, leaning slightly forward , the 
breast advanced, the back hollowed, and the stomach some¬ 
what drawn in, but not to such an extent as to hinder the 
freedom of respiration or injure the ease of attitude. An air 
of lightness should pervade every motion, as a constrained 
or forced motion destroys harmony, and gives a degree of 
pain to the sight of the spectator. 

The head should be carried upright, inclining backward, 
and easy in any position, entirely devoid of stiffness, never 
fixed, but readily turned to any position, inclining, as if by 
intuition, in a continued graceful motion, without effort or 
volition, the skater always remembering our important 
caution— 

NEVER LOOK DOWN AT THE FEET WHILE SKATING ! 

The shoulders must be kept slightly back of the breast 
and moderately low, not forced, but easy in this position. 

The legs should not be stiff. Nothing so effectually 
destroys the beauty and gracefulness of the movement as 
stiffness of the limbs, and, as it gives a rigidity to the body, 


42 


Position of the Body. 


it is not only unbecoming, but materially disadvantageous. 
A pliability of form is absolutely necessary to the acquire¬ 
ment of the different movements upon skates. 

The knee of the performing leg should he slightly bent. 
This rule is absolute. If the reader has any doubt concern¬ 
ing this fact, which is so emphatically stated, let him, if 
sufficiently proficient, perform the “ outside edge rolV > or the 
“ cross-roll” with the leg and thigh perfectly straight, and 
afterward with the knee slightly bent, and the difference 
will be perceptibly felt. 

The arms must hang loosely at the side, the elbows slightly 
bent, the hands naturally facing the body, the fingers neither 
imitating the tines of a fork, nor clutched as if with a spasm, 
but a little bent and slightly separated. 

To an awkward person nothing gives so much uneasiness 
as the hands, and no other part of the body occasions so 
much speculation as to the disposition of it as these seem¬ 
ingly superlative members when at rest in society. Per se , 
an awkward person is easily distinguishable by the uncouth 
disposition of his arms. 

The habits of skaters in disposing of the arms in various 
unnatural and uncouth manners, to the utter destruction of 
the beauty of the figure, calls for a correction, the severity of 
which must be equal to the violence of the disease. We 
have seen skaters ruin all the grace which they naturally 
possessed by spasmodic clutching of the fingers, continual 
swinging of the arms, bending the arms to a right angle, 
holding the arms out from the body, or spreading the fingers, 
until the three Graces must have wept in anguish and hidden 
their faces in sheer vexation. 

Nothing is more common than this uncouth and ungainly 
hauk of gesture; and as it generally arises from carelessness, 
growing into habit, and thence to second nature, the most 
stringent laws should be made by the skater for its imme¬ 
diate correction, and the learner should be very guarded 
that he may not obtain an awkward position of the arms, as 
any such ungainliness is immediately perceptible to the 


Position of the Body. 


43 


spectator. Stiffness of the arms is as much to be deprecated 
as any other fault which we have mentioned. Let the arms 
depend loosely at the side, gracefully and gently oscillating 
with the motion of the body, the elbow slightly bent, the 
hand naturally turned toward the body, with the fingers a 
little bent and slightly separated. 


PLAIN MOVEMENTS. 


I. “ PLAIN FORWARD MOVEMENT.” 

Stand with the heel of the left foot opposite the hollow of 
the right, the weight of the body on the left foot, leaning 
slightly forward and inclining to the left. Slide forward on 
the left by pushing with the right, raising the right foot 
from the ice and bringing the heel of the right opposite the 
hollow of the left, throwing the weight of the body upon 
the right, the body inclining to the right. Slide forward on 
the right by pushing with the left, raising the left foot and 
carrying it to the first position. 



Figure 1.—Plain Forward Movement. 


II. “PLAIN BACKWARD MOVEMENT.” 

This is the first backward movement the novice should 
learn, and, as the name indicates, is the plainest or simplest 
method of “making progress backward.” It is identical 
with the movement once denominated “ sculling,” and is 
done mainly by power of the hips and motion of the 
shoulders. 

Stand with the toe of the right foot turned toward the 
left, and well in front, In starting, force the right to 


Plain Mo vements. 


45 


describe an arc on the inside edge of the skate, which will 
carry it behind the left; then force the left to describe an 
arc on the inside edge, and continue the motion, without 
lifting either foot from the ice. 

This movement will leave upon the ice the marks as in 



Figure 2.—Plain Backward Movement. 


III. THE “ OUTSIDE EDGE ROLL FORWARD.” 


This, when well executed, is the most elegant and grace¬ 
ful movement performed upon skates; but, to be gracefully 
executed, not only the movement of the feet is to be studied, 
but the motion and position of every portion of the body 
must be natural, easy, and pliable to the utmost degree. 

Stand upon the ice with the left foot opposite the hollow 
of the right; use the right as the propelling powder in start¬ 
ing, although, after starting, the balance of the body will be 
the propelling power. When in this position, push yourself 
with the right foot, and, leaning the body slightly forward, 
execute a long curve upon the left, on the outside edge of 
the skate. Repeat this movement upon the right, and 
continue. 

The reader should particularly observe that, in executing 
this movement, the knee of the limb which is on the ice 
should be slightly bent, as it adds grace and ease to the 
movement. The knee of the limb which is clear of the ice 
should also be bent, to avoid the stiff movement which is 
so palpably apparent in many of our proficient skaters. 
The balance foot should be carried with the hollow of the 
foot a little behind the ankle of the carrying foot until near 
the end of the curve, when it should be brought gradually 


4 G 


Plain Movements. 


around until in position for the start on the other foot. The 
body must be erect, the shoulder inclining to the centre of 
the curve, the hands carried loosely at the side, the head 
turned a little to the direction you are going, and the eyes 
looking toward the intended end of the curve, but at a sup¬ 
posed object about fifty feet beyond. 

By following the above directions, the learner will imper¬ 
ceptibly glide into a roll, leaving the following figure upon 
the ice: 



Figure 3.—The Outside Edge Roll Forward. 


IY. THE “ OUTSIDE EDGE ROLL BACKWARD.” 

This movement, like the forward roll, is very graceful, and 
when performed with perfect ease gives to the skater the 
most delightful sensation of any of the many movements 
which can be executed upon skates. It is supposed by many 
to be executed by the same motion and position of the body 
as the forward roll, but in many points it differs materially. 

Stand with the toe of the right foot turned toward the left 
and well in front; lean the body slightly to the left, look 
gracefully over the right shoulder, forcing the right foot to 
describe an arc, then raise the right, the middle of which 
must be carried opposite the heel of the left and about two 
inches above the ice ; the knee of the balance foot being 
slightly bent, the left foot is made to describe a curve, at 
the end of which the balance foot is thrown slightly forward, 
and the body and head brought more perpendicular, and the 
left foot turned from the outside to the inside edge, which 
puts you in position for a start upon the other foot. By 


Plain Mo vements. 


47 


continuing this movement, you will have a perfect outside 
edge-roll. 



X 


Figure 4.—Outside Edge Roll Backward. 


V. THE “ INSIDE EDGE ROLL FORWARD.” 


This movement is generally considered an undesirable 
one, for the reasons that it is difficult of accomplishment 
there is no pleasing sensation from it, it is not particularly 
graceful, and is devoid of all dash. Hence it is generally 
neglected ; yet it should not be, as it is one of the most essen¬ 
tial movements in skating, because it is used, more or less, in 
nearly every fancy movement, and must be acquired before 
a person can become a proficient skater. 

It is done wholly by the balance of the body. Start with 
the toes turned slightly in, incline the body to the right, 
casting the eyes over the right shoulder, at the same time 
raising the right foot and carrying it behind the left ankle, 
sliding upon the inside edge of the left skate, describing a 
curve. Carry the right foot forward so that the heel of the 
right will be opposite the heel of the left, turn the head 
toward the left shoulder, throwing the weight of the body 
upon the inside edge of the right foot. Raise the left and 
carry it well behind the right, sliding upon the inside edge 
of the right foot. Continue this movement, and you will 
leave the following figures upon the ice : 



Figure 5.—Inside Edge Roll Forward. 


48 


Plain Movements. 


VI. THE “INSIDE EDGE'ROLL BACKWARD.” 


The same may be said of this movement as has been ob¬ 
served concerning the forward; for it is neither elegant nor 
dashy, and is difficult of accomplishment, although very 
essential to a good skater. It is, also, executed wholly by 
the balance of the body, in the same manner as the forward, 
with the exception that the head must be turned slightly to 
the outside , and the heel of the balance foot carried over the 
toe of the carrying foot, the lines described upon the ice 
being the same as those described in the forward movement. 
(See Figure 5.) 


VII. THE “ LAP FOOT FORWARD.” 


This movement, as its name indicates, is performed by 
lapping or crossing one foot over the other, cutting a circle. 
Incline the weight of the body upon the outside edge of the 
left skate, raise the right foot and bring it well over the 
left, placing it upon the ice on the flat of the skate, and 
throw the weight of the body upon the right foot; raise 
the left and carry it to the first position. By continuing 
this movement, you will move in a circle to the left. 
Reverse the movement, and go in the opposite direction, by 
carrying the left over the right instead of the right over 
the left. 



Figure 6.—Lap-Foot Forward. 




Plain Movements. 


4 9 


VIII. “cross-roll forward.” 

This movement is executed by stepping one foot over the 
other and making an outside edge roll. The body should 
be carried as in the outside edge roll, the balance foot 
raised five or six inches while crossing the other and placed 
upon the ice on the outside edge. 

The easiest method of learning this step is to commence 
by doing the simple lap-foot. Take five or six steps to the 
left, then the shme number of steps to the right. After re¬ 
peating this several times, reduce the number of steps to four, 
then three, then two, then one, and you will have the “ cross¬ 
roll forward.” 



Figure 7.—The Cross-Roll Forward. 


IX. THE u LAP-FOOT BACKWARD.” 

This is performed by lapping the feet backward, and upon 
the same principle as the forward movement, a figure iden¬ 
tically the same. 


X. THE “ CROSS-ROLL BACKWARD.” 

This movement is done materially the same as the il for- 
icard cross-roll ,” carrying the head, body, and arms as in the 
“ outside edge roll backward.” To learn this movement, do 
the lap-foot backward, reducing the number of steps the 
same as in learning the “cross-roll forward,” and when 
reduced to one step each way, you will have the cross-roll 
backward, which leaves the same curves upon the ice as 
the forward movement. 


50 


Plain Movements. 


XI. “ CHANGE OF EDGE ROLL FORWARD,” STARTING FROM 
THE OUTSIDE EDGE. 

Start on an outside edge roll, and having executed a long 
curve on the outside edge, turn the head from the outside 
to the inside, throw the body forward and the balance foot 
back, changing from the outside to the inside edge, and 
making a curve, as nearly as possible, of the same length as 
that already made upon the outside edge. Execute this 
upon the other foot, continuing which will give you 



Figure 8.—Change of Edge Roll Forward. 


XII. “ CHANGE OF EDGE ROLL FORWARD,” STARTING FROM 

THE INSIDE EDGE. 

Start the same as in the “ inside edge roll.” "When about 
to change, throw the head from inside to outside, and the 
balance foot well forward, slightly across the carrying leg. 
Change from the inside to the outside edge of the skate. 
Do this in the same manner upon the other foot, and con¬ 
tinue. The curves upon the ice will be the same as Fig¬ 
ure 8. 


XIII. “ CHANGE OF EDGE ROLL BACKWARD,” STARTING UPON 

THE OUTSIDE EDGE. 

Start on the u outside edge roll backward,” and change to 
the inside edge by throwing the head and body to the inside, 
and the balance foot in front of and well over the carrying 
foot. Do this upon the other foot, and continue, leaving the 
same curves as in Figure 8. 


Plain Movements. 


M 


XIV. “ CHANGE OF EDGE ROLL BACKWARD,” STARTING FPON 

THE INSIDE EDGE. 

Start upon the “ inside edge roll backward,” and change 
the edge by throwing the head and shoulders to the inside, 
and the balance foot from the front to behind. Do this upon 
the other foot, and continue. The curves are the same as in 
Figure 8. 


FANCY SKATING. 


I. “ ON TO RICHMOND.” 

In executing this movement, the skater is apparently en¬ 
deavoring to go forward, hut in reality goes backward. 

Stand with the left foot straight, and lifting the right 
foot clear of the ice, twisting the toe of the foot out to its 
greatest extent. In this position, cross it over in front of and 
as far across the left as possible, at the same time allowing 
the weight of the body to fall upon the outside edge of the 
right foot. Raise the left foot, turning the toe out, cross it 
over in front of the right, allowing the weight of the body to 
come upon the outside edge of the left foot. 



II. REVERSE “ ON TO RICHMOND.” 

This movement can not be done until the skater is able to 
execute the “ change of edge roll forward ” with perfect 
ease. Like the “ On to Richmond ” step, the skater is appar¬ 
ently endeavoring to go in an opposite direction from which 
he is in reality going, with the exception that in this move¬ 
ment he goes forward instead of backward. 


Fancy Skating. 


53 


Stand upon the left foot, place the right across and be¬ 
hind the left, the toe of the right being thrown a little for¬ 
ward of the left on the outside edge, at the same time 
putting the weight upon the right foot, and, after sliding 
about ten or twelve inches on the outside edge of the right, 
change quickly to the inside edge of the same foot, and, slid¬ 
ing about the same distance as upon the outside edge, throw 
the left foot behind the right in the same manner as the 
right was thrown behind the left. Continuing this move¬ 
ment, you will go forward and leave the following lines 
upon the ice: 




Figure 10.—lie verse “On to Richmond.' 1 


III. “locomotives.” 

The locomotive is a peculiar step, and is generally done 
with considerable noise, though we question the good taste 
of those who consider that it must be done with the clatter 
of its noisy namesake. This step may be done quietly, 
noisily, rapidly, or slowly, and still be a perfect locomotive. 
There are several of them, but we will only describe the 
“ single ” and “ double locomotives,” as most of the others 
are so similar, they are almost identical with these. 

THE “ SINGLE LOCOMOTIVE.” 

To do the single locomotive forward, make a serpentine 
figure on the right foot, and propel yourself by pushing with 
the left foot behind, first on the right side of the right foot, 
then on the left side of the right foot, and continue the mo¬ 
tion, keeping the right foot on the ice and raising the left 
after each push. 

THE “DOUBLE LOCOMOTIVE FORWARD” 

is done by making the movement as above, and after hav¬ 
ing made the push on each side, turn around and make the 


54 


Fancy Skating. 


left foot describe the serpentine, while the right is the pro¬ 
pelling power. Make the two pushes with the* right, turn 
again, and so continue. 

THE “ SINGLE LOCOMOTIVE BACKWARD.” 

Stand with the weight of the body principally upon the 
left foot, the right well in front with the toe turned in, the 
inside edge of the skate resting upon the ice. Force the right 
foot to describe an arc on the inside edge, then carry it over 
behind the left and place it upon the ice on the outside 
edge, and on this edge force it to describe an arc, and then 
as at the start. 

THE “ DOUBLE LOCOMOTIVE BACKWARD.” 

This is done the same as the last, but alternating the feet, 
first making the right describe the two arcs, then the left, 
and continue. 


IV. “ WALTZ STEPS.” 

Any movement in which the skater goes perpetually 
around, and keeps time to the music of the waltz, is proper¬ 
ly a waltz step, and as many of the movements we will 
hereafter explain, by a slight alteration, may come under 
this head, we deem it inadvisable to describe them as 
“ waltz steps.” 

The most beautiful “ waltz step” that may be performed 
on skates is the ordinary German waltz, which is executed 
the same as in dancing upon the floor. 

v. “spread eagle.” 

This movement is done by placing the feet in a direct 
line, the heels close together, and the toes turned in oppo¬ 
site directions. It may be executed in a straight line, by 
carrying the body perfectly upright; in a circle forward, by 


Fancy Skating. 


55 


inclining the body slightly forward; or in a circle backward, 
by inclining the body backward. 

It is necessary, to the performance of this movement, that 
the skater should get under good headway before assuming 
the position, and we recommend the plain forward move¬ 
ment as the best motion to get this headway. 

This movement should not be executed with the knees 
bent at a right angle, as has been asserted in several works 
upon skating. The ungainly and boorish appearance of the 
skater in such a position would condemn the movement to 
eternal oblivion. In learning this movement, the skater 
will probably find it necessary to bend the knee; but this 
position must be gradually overcome, as the “ spread eagle ” 
can only be done gracefully by an erect position, with the 
legs close together. 



Figure 11.—Spread Eagle Movement. 


VI. “figure threes.” 

Of the “figure three” there are three classes, namely, the 
“ Single,” the “ Double,” and the “ Flying Threes.” 

I. “ Single Threes .” Of these figures there are eight, 
namely: First. Right foot, outside edge forward to inside 
edge backward. Second. Right foot, inside edge forward 
to outside edge backward. Third. Right foot, outside 
edge backward to inside edge forward. Fourth. Right 
foot, inside edge backward to outside edge forward. The 
same four movements upon the left foot, making the eight. 

It will only be necessary to instruct the skater how to 





56 


Fancy Skating. 


perform one of these figures for his guidance in the execu¬ 
tion of all of them. 

Start, as in an “ outside edge roll,” on the right foot, mak¬ 
ing a short curve, suddenly throwing the head and shoul¬ 
ders more to the right, and changing from the “ outside 
edge forward” to the “inside edge backward.” The learn¬ 
er should do this as slowly as possible. 



Figure 12.—Single Figure Threes. 


IT. “Double Figure Threes .” The “double threes” are 
performed in the same manner as the “ single threes,” with 



Figure 13 (a).—Double Figure Threes. 


this difference, there are three distinct turns instead of one; 
for instance, starting on the outside edge forward, th e first 
turn is from the outside edge forward 
to the inside edge backward ; the se¬ 
cond turn is from the inside edge back¬ 
ward to the outside edge forward; the 
third turn is from the outside edge for¬ 
ward to the inside edge backward. 

In executing the “ figure threes,” 
either single or double, the skater 



Fancy Ska ting . 


57 

should be careful not to put in an extra turn, as it destroys 
the figure. 

III. “Flying Threes .” This is a very showy and pair 
ticularly dashy figure, and is performed by starting off with 
the plain “figure three,” ; oii the right foot, and from that 
to the left foot, and continuing the movement from one foot 
to the other, going lengthwise of the ice. This movement 
is frequently done with a jump, but is less graceful, al¬ 
though more dashing, and really destroys the figuie, thus: 



It should, therefore, be done without a jump. The coi- 
rect movement is as in 



Figure 14.—The Flying Threes. 


VII. THE “FIGURE EIGHT.” 

Start off on the “ plain forward outside edge roll, right 
foot;” but instead of executing a curve only, make a com¬ 
plete circle, then make another circle upon the left, taking 
care that the circles are joined so as to make an “eight.” 

This explanation will answer for any of the following 
“ eights ”: 

“ Outside edge-roll, backward ;” “ cross-roll eight,” for¬ 
ward and backward ; and “ inside edge roll 
eight,” forward and backward. 

If the skater finds any difficulty, as he pro¬ 
bably will, in making the complete circle for 
want of headway, he should carry the balance 
foot well behind, until he finds himself losing 
headway, when, by swinging the balance foot 
around in the direction in which he is going, 
he will gain impetus enough to enable him to 
complete the circle. Figure Eight. 



58 


Fancy Skating. 


VIII. THE “GKAPE-VINE. 

This movement is the acm'e of fancy skating, and when 
a skater can execute it perfectly, he is capable of attempting 
any movement upon skates. 

The step itself is attractive and showy, but 
is not particularly graceful, although it is 
deemed necessary to the accomplishments of 
the proficient skater. 

Start with the feet about fourteen inches 
apart, the toes slightly turned in. Slide the 
right foot in advance of the left, crossing a 
little over it; turn from forward to back¬ 
ward, but instead of turning in the direction 
your body would naturally turn, namely, from 
right to left, turn in the opposite direction, 
from left to right; and instead of allowing 
the left foot to lead, as it naturally would, 
make the right foot lead and cross the left. 

Turn from backward to forward, left to right, 

, / & > 
making the right foot lead again, and you are 

in the same position as at the start. Continue 
this movement, and you have the “ grape¬ 
vine.” 



IX. THE “PHILADELPHIA TWIST.’ 


First, Single .— Start backward and allow 
the feet to slide a little way apart, then draw 
them together and cross the right foot well 
over in front of the left, the left foot leading ; 
and while in this position, turn the right foot 
from backward to forward, making a short 
cut on the outside edge. On this cut the 
right foot leads. Then turn it from forward 
to backward, and let the left foot again lead, 
and continue, remembering to cross the feet, 
before every turn, from backward to forward. 



Fancy Skating. 


59 


This movement leaves upon the ice the same figure as the 
“ grape-vine.” (See Figure 16.) 

Second, Double .—Start the same as in the single, but in¬ 
stead of going only half-way around, make the complete 
revolution, then start with the left foot the same as first 
starting with the right, and continue. 



•Figure 17.—Double Philadelphia Twist. 


x. “toe-steps.” 


Of these movements there are really only twelve distinct 
ones, namely, six on each foot; but the combinations and 
complications of these are almost innumerable. 

In explaining the “toe-steps,” we will always suppose 
the left foot to be the pivot or centre, around which the 
other foot is to circle; but the skater must be able to do 
them upon either foot. 

I. The simple toe-step foricard .—Start on the inside edge 
of the right foot, placing the pivot-toe on the ice, about two 
feet from the circling foot, and, inclining the body slightly 
to the inside, go around the pivot-toe. Be sure to make a 
complete circle, as in 



Figure 13, 


and in all toe-steps make the circle complete. 




60 


Fancy Skating. 


. II. The simple toe-step backicard. —Start on the inside 
edge backward, placing the pivot-toe the same as in the 
last movement, going around backward instead of forward. 

III. The outside edge toe-step forward, foot behind. —Start 
slowly on the outside edge, and cross the pivot-foot over 
behind as far as possible, placing it on the ice, and circling 
around it to the right. 

IY. The outside edge toe-step forward , foot in front .— 
Start the same as in the last movement, but instead of 
crossing the foot over behind, cross it in front, and circle 
around to the right. 

V. The outside edge toe-step backward , foot in front .— 
Start on the outside edge backward, and cross the pivot- 
foot over in front, placing the pivot-toe on the ice, as far 
over as possible , and circle around it on the outside edge. 

VI. The outside edge toe-step backward , foot behind .— 
This is done the same as the last movement, with the ex¬ 
ception of crossing the pivot-foot over behind instead of in 
front. 

In all toe-steps, as in almost every other movement, the 
head and shoulders should be slightly turned in the direc¬ 
tion in which you are to go. 

Combination Toe-Steps. —As we have before said, the 
combinations of toe movements which can be made are 
almost innumerable, and must be left to the taste of the 
skater to form the combinations to suit his fancy. One of 
these combinations may be formed thus: Start with “ toe- 
step” No. 1, turning it into No. 5, then to No. 2, finishing 
it with No. 3, always remembering to make the complete 
circle in each step. 

Toe-Dancing and Pirouettes. —For these movements we 
can give no special rules. Toe-dancing, as the name indi¬ 
cates, is any dance executed upon the toes of the skates. 
The pirouette is a toe-spin on either foot. There are two 
different ways of starting : first, on the flat of the skate, 
raising to the toe; second, by starting on the simple No. 1 
toe-step, and whirling on the pivot-toe. 


Fancy Skating. 


61 


XI. “spins.” 

Of these there are two distinct classes, namely, one-foot 
spins and two-foot spins. 

Of the “one-foot spins” there are eight, namely, starting 
on the outside edge forward, inside edge forward, outside 
edge backward, and inside edge backward. Performing 
these upon both feet makes the eight. These spins, al¬ 
though started upon the edges, must be executed upon the 
flat of the skate. 

The right-foot spin forward , starting on the outside edge. 
—Start on a short “outside edge-roll,” turning the head 
and shoulders to the right, and throwing the left foot over 
and about ten inches in front of the right knee, and gra¬ 
dually drawing it toward the knee while spinning. 

The right-foot spin forward, starting on the inside edge .— 
Start on the inside edge with a short roll, turning the head 
and shoulders to the left, and throwing the left foot over 
behind the right leg. 

The other “ one-foot spins ” are done in the same manner 
as those described. 

Two-foot spins. —Of these there are six, namely: the 
“plain two-foot spin,” (1) right to left, and (2) left to 
right; (3) the “ cross-foot spin,” starting on the outside 
edge on the right foot, throwing the foot behind; (4) 
starting on the outside edge, right foot, crossing the foot in 
front; (5) doing No. 3 upon the left foot; (6) doing No. 4 
upon the left foot. 

The plain two-foot spins are done by letting the two feet 
mn about thirty inches apart, then turn the toes slightly in, 
drawing the feet suddenly together, and throwing the head 
and shoulders in the direction you wish to go. The body 
must be erect and the hands at the side to look well. This 
can not be a good spin without twelve or fourteen revolu¬ 
tions. 

The crossfoot spin is done by starting ofl* on a “ one-foot 
spin,” and crossing the balance foot over and placing it upon 


G2 


Fancy Skating . 


the ice on the other side, the toes to be as near together as 
possible. 


xii. “serpentines.” 

There are two classes of serpentines, namely, the “two- 
foot serpentines ” and the “ one-foot serpentines.” 

Of the “ two-foot serpentines ” there are four, as follows : 

First. Plain serpentine forward, right foot leading. —This 
movement is done principally by the swing of the body. 
Start with the right foot directly in advance of the left, 
pointing the forward foot a little to the right, and by lean¬ 
ing the body to the right yon will make a curve; then 
throw the body in the opposite direction, pointing the right 
foot in, and you will make a curve to the left, the two 
curves forming a serpentine. This movement should be 
continued. 

Second. Plain serpentine forward, left foot leading .— 
This movement is the same as the last, with the exception 
that the left foot leads instead of the right. Third and 
fourth, the same backward. 

Of the “ one-foot serpentines ” there are four: 1. Right 
foot forward. 2. Left foot forward. 3. Right foot back¬ 
ward. 4. Left foot backward. 

First. Right foot. Start on the “ outside edge roll,” on 
the right foot, changing from the outside to the inside edge, 
the same as in the “ change of edge roll,” making a curve on 
the inside edge. At the end of the curve, change to the out¬ 
side edge in the same manner as the change in the “ change of 
edge roll forward,” starting on the inside edge. Continue as 
above. 

Second. Left foot. This movement is done in the same 
manner as the last, with the exception of the left instead of 
the right foot. 

Third and Fourth. The same as the foregoing, back¬ 
ward. 



Figure 19.—Serpentines. 


Fancy Skating. 


63 


The “ serpentines ” may also be done in a circle, as in 
“ eights.” 



Figure 20.—Serpentines in Circle. 


XIII. “figure eight” ON ONE FOOT. 

Of these there are four—two on the right, and two on the 
left, forward and backward. 

First. Right foot forward. Start on the right as in the 

O O 

“ one-foot serpentine,” making a complete circle on each 
edge instead of a “ serpentine.” 

Second. Left foot forward. This is done in the same 
manner as the right. 

Third and Fourth. Right foot backward and left foot 
backward, same as forward movement. 



Figure 21.—Figure Eight on One Foot. 



G4 


Fancy Skating. 


xiv. “changes of edge,” single and double. 

The u single changes of edge” differ from the “change of 
edge rolls ” simply in stopping after the two edges have been 
completed. Of the single changes there are eight, and 
each must be done with a separate start. They are : First, 
outside to inside edge forward, right foot. Second, inside 
to outside edge forward, right foot. Third, outside to 
inside edge backward, right foot. Fourth, inside to outside 
edge backward, right foot. And the same on the left foot. 



Figure 22.—Single Changes of Edge. 


Of the “ changes of edge, double,” there are sixteen—■ 
eight plain, and eight with a turn at the end of the second 
curve. The plain movements differ from the single changes 
of edge only in executing two curves instead of one. 
There are four of these forward, two on each foot, starting 
outside and inside edges, and the same backward. 



Figure 23.—Changes of Edge, Double, (Plain.) 


<£ CHANGES OF EDGE, ” DOUBLE, WITH TURN. 

These are done by making the two edges forward and 
turning, as in the “ figure three,” making the two backward 
edges. To make eight of these, start in the eight different 
manners set down for the plain movements. 



Figure 24.—Changes of Edge, Double, with Turn. 


Fancy Skating. 


65 


XV. “ ONE-FOOT LOOPS. 5 ’ 

To execute the loops, start as in the one-foot spin, and 
when at the top of the loop turn suddenly to complete it. 
This must be done on one edge of the skate, either the inside 
or outside forward, or the inside or outside backward. 



Figure 25.—One-Foot Loops. 


XVI. “ONE FOOT RINGLETS.” 

The “ ringlets ” differ from the “ loops ” only in the shape 
of the marks left upon the ice, a “ ringlet ” being perfectly 
round. 


Figure 26.—One-Foot Ringlets. 





COMBINATION SKATING. 


The difficulty of bringing together a sufficient number of 
skaters who are equally competent to perform the “ eight,” 
the “ three,” or other movements which, taken in combina¬ 
tion, give a figure which can be skated by two or more 
persons, has been the drawback to combination skating. 
The size of the skater as well has much to do with it, as 
the movement of the performers in the combination must be 
precise, to make the figure perfect. Now that skating has 
increased in popularity, and the number of proficients in the 
art perceptibly multiplied, we can hope to see more com¬ 
binations of two, four, eight, and even sixteen and thirty-two 
persons on the ice. 

Combination skating is the highest style of the art. 
Unless a skater is proficient in the elementary figures, he 
can not skate in combination with others, because proficiency 
and precision in every movement are an absolute necessity. 

We give a few of the many combinations known, and 
must leave the majority of them, as all the movements are 
susceptible of combinations and may be combined to suit 
the taste of the skaters. 

In giving instructions in combinations of the “figure 
eights,” we give the “ cross-roll ” figures; but the same 
instructions will answer for the “ plain eight,” and the same 
figures may be executed with the “ one-foot eight.” And 
where we give instructions for executing the “ eight outside 
forward ,” it may also be done backward and on inside edges 
as well as outside . 


Combixa tion Ska ting. 


67 


COMBINATION MOVEMENTS. 

COMBINATION “ EIGHTS.” 

THE “ EIGHT ” BY TWO PERSONS. 

Two skaters stand with the right sides 
lacing each other, in position for making 
the “eight,” and with right hands joined. 

Start off, and make the first half of a 
“ cross-roll eight, forward;” disengaging 
the hands, each will go in an opposite 
direction on the left foot, and finish the 
other half of the “eight.” (See Fig. 27.) 

THE “ EIGHT ” BY FOUR PERSONS. 

Four persons join right hands, each 
with right side to centre, and in posi¬ 
tion for doing the “eight.” Start off on the “cross-roll 
forward, right foot,” retaining hands until each has com¬ 
pleted his half of the “ eight,” then let go and finish the 
“ eight” on the left foot, each going in opposite direc¬ 
tions. (See Figure 28.) 




Figure 28 . 


GS 


Comb in a tion Ska ting. 


THE u EIGHT ” BY EIGHT PERSONS; 

This is done in the same manner as the last movement, 
with the exception of comprising eight persons instead ot 
four, and the inside four persons joining right and left hands 
alternately, while the outside four join the right hands 
alone. 



The “ Rose ” movement is a combination of “ eights ” by 
four, eight, or sixteen persons. To make the description 
plain, we will suppose it done by eight persons, four ladies 
and four gentlemen. 

Four ladies stand on the outside line of a circle, gentlemen 
standing inside ; gentlemen cross hands in the centre, skating 
on left foot, outside edge, around circle, and number one takes 
place of four, four to three, three to two, two to one. Gen¬ 
tlemen start on right foot, outside edge, swinging lady; 


Combination Skating. 


69 


ladies still keeping place on the outside, making circle alone. 
Gentlemen on inner circle cross hands, and start off again 
on left foot, outside edge, keeping inner circle, changing 
places. Number one becomes three, four two, three one, 
and two four, and swing ladies. Start again, one becomes 
two, three four, four two, two three, and swing ladies as 
before. Gentlemen start on inner circle, ladies keeping out¬ 
side, gentleman cross hands, skate around circle, returning 
to first position. Gentleman skate to outside circle, ladies 
inside, taking place of gentlemen, and skate the same figures 
as the gentlemen have done. This movement gives 



COMBINATIONS IN “THREES.” 

Nearly all the combinations we have already described 
of “figure eights ” maybe done in “ figure threes,” by insert- 


■70 


Combination Skating. 


ing the u figure three ” turn at each end of the “ eight.” 
We will give a number of combination figures which differ 
from those already explained, which are susceptible of vari¬ 
ations and additions to suit the taste of the skater and re¬ 
lieve the monotony of routine. 


THE “ ELYING SCUD.” 

This movement can he done by two persons only. The 
two persons join both hands, facing each other, one starting 
backward and the other forward. Start on the “ outside 
edge roll,” the skater going forward on the left foot, and 
the one going backward on the right foot; the skater going 
forward changes to right, and the one going backward to 
left foot, at the end of which rolls each executes a “ figure 
three,” the forward person then going backward, and the 
backward one going forward. This brings both skaters on 
the inside edge, which must be very short, changing from 
this edge to the outside edge of the other foot. The for¬ 
ward person will then go through the same movement that 
was executed by the one who first went forward, and vice 
versa. 

This movement, as well as the following, is a “ field step,” 
which means that it is not done within circumscribed 
bounds, but is executed upon the field of ice to any dis¬ 
tance, at the option of the skaters. 

THE “ MEKCURY.” 

This movement, like the “ flying scud,” may be done 
only by two persons. 

Two persons join hands, one starting backward and the 
other forward. The one going forward starts on the “ cross¬ 
roll forward, left foot,” the partner starting on the “ cross¬ 
roll backward, right foot.” The one going forward crosses 
the right foot over the left, describing a curve on the out- 


Combination Skating. 


71. 


side edge of the right; the partner doing the same back¬ 
ward on the left foot. At the end of this curve both turn 
as in a “ figure three ;” the one going forward changes to 
backward, and the partner changes to forward, eacli slid¬ 
ing on the outside edge. The one going forward then goes 
through the same motions as the partner did on the start. 


THE “ BISHOP EIGHT.” 

Figure 31 is the figure as skated by each person, starting 
from the x and finishing the figure at the * with a “ pirou¬ 
ette.” 

Two persons join hands, and make a half-circle on the 
right foot, outside edge, forward. 

Turn, making the figure three and changing hands, make 
a half-circle backward, on the inside edge, right foot. 

Change to the outside edge, left foot, and make a half-cir¬ 
cle, outside edge, backward. 



Disengage hands, and make a half-circle on the right 
foot, outside edge, forward, making the circle outward from 
the centre of the figure. 


Combination Skating. 


72 


Turn, making the figure three, and make a half-circle 
backward on the right foot, inside edge. 

Place the toe of the left skate on the ice, and continue 
the circle on the right foot, outside edge. 

Reverse the figure back to places, commencing with the 
left foot, and joining left hands. 


COMBINATION IN “TOE-STEPS. 


All of the “ toe-steps” may be done in combinations by 
two persons. As skaters will probably introduce into these 
combination^ the toe-steps with which they are most fami¬ 
liar, or those which may please their fancy, w^e give only 
one as an example. 

Two skaters join right hands, facing each other, and start 
on “ plain inside edge toe-step, left foot forward.” Placing 
the two pivot-toes as near together as possible, make the 
left foot describe a complete circle. Next, do the “ outside 
edge toe-step forward, left foot behind,making a complete 
circle. Join hands again and repeat the same movement. 


SPECIALTIES OF PROMINENT SKATERS. 


We regard the word specialties as referring to move¬ 
ments identified with individual skaters, as performed only 
hy that individual, or one in which a skater specially excels , 
or one which he executes better than any other step he can 
perform. 


EUGENE B. COOK. 

“Spread Eagle” backward , on the Toes. 

Start off on “ plain forward skating,” then in position for 
doing “ spread eagle ” backward, throwing the body on the 
toes, and finishing the movement in this position. The 
specialty consists in doing the movement backward, and 
changing, first, right foot forward; second, left foot for¬ 
ward. 

“ One-Foot Eight” backward, with “Loops” 

This specialty of Mr. Cook is executed the same as the 
“ one-foot eight,” already described, with the addition of 
“loops” at the top and bottom and in the centre o f the 
“ eight.” 


E. T. GOODRICH. 

“Spread-Eagle Jump” 

This movement is executed with great 'eclat by this excel¬ 
lent skater, and is commenced by obtaining full speed by 
the “plain forward movement,” striking into a “spread 
eagle,” and, while in this position, going at this rapid rate, 
he springs clear from the ice and makes a complete revolu¬ 
tion while in the air, and, alighting upon the ice with his feet 


74 


Specialties of Prominent Skaters. 


in precisely the same position, continuing the “spread eagle’» 
slide. 


CALLIE CURTIS. 

One of the great specialties of this popular “ Western 
favorite” is a very showy figure, requiring a very fine 
balance. It is done by starting on the forward “ one-foot 
spin,” making two or three revolutions, hopping clear from 
the ice, lighting on the toe, and finishing with three or four 
revolutions on the “ toe-spin.” 

Another of his specialties is 

The “ Curtis Star,” 

a diagram of which is given opposite. It is done in three 
parts. First, the circle. This is done by the simple “inside 
edge forward, toe-step.” At the completion of the circle, 
he jumps back, clear of the circle, so as to leave no marks 
inside of or across the circle. Second, the plain star. Stand¬ 
ing with left foot at No. 1, the right foot at No. 2, he lets 
the left foot run a little further away from the right; then 
drawing it in, bearing hard on the heel of the right, he 
makes a heavy straight line from No. 2 to No. 4, at the end 
of which line he uses the heel of the right foot as a pivot, 
and slides the left foot around to No. 3. Then, alio wine; the 
feet to go through the same motions as before, he makes the 
heavy straight line with the heel from No. 4 to No. 1, allow¬ 
ing the left foot to slide around to No. 5. Going through 
the same motions, the right foot makes the heavy straight 
line from No. 1 to No. 3, sliding the left foot around to No. 
2, and, going through the same motions, he makes the heavy 
straight line from No. 3 to No. 5, allowing the left foot to 
slide around to No. 4, and, again going through the same 
motions, making the heavy straight line from No. 5 to No. 
2, completing this portion of the movement. In making the 
straight lines, he bears very lightly on the left foot, in order 


Specialties of Prominent Skaters. 75 

that he may leave no visible mark with that foot. Third, 
the curved lines, which are put in with the heel of the right 
skate, the left remaining outside the circle. 


1 



EUGENE W. PRATT. 

“ Spread-Eagle Wave.” 

This movement is done by starting off with a “ spread 
eagle,” leaning first backward, and describing a long curve 
on the outside edges; then forward, and describing another 
curve on the inside edges; then again backward, and con¬ 
tinuing. This is one of the most graceful of the “ spread 
eagle ” steps, and describes a wave upon the ice. 



Sprcad-Eairlc Wave. 









Specialties of Prominent Skaters. 


70 


JAMES MEADE. 

“ Spread Eagle,” passing Feet. 

This is an ordinary “ spread eagle ” at starting; but, in 
finishing the movement, the feet are drawn slowly across 
each other in a straight line, so that the toes meet. 

JOHN ENGLER, JR. 

The “ Gutter-Step 

This movement is done with the same power of balance 
as the “ two-foot serpentinebut in this the inside edges of 
the two skates are brought together, so as to touch each 
other, by bending the feet well over upon the outside edge, 
and in this position executing a “ serpentine.” 


JOHN POWERS. 

" One-Foot Whirl, backward,” 

This skater’s great specialty is the “ one-foot whirl, back¬ 
ward,” which he executes with great 'eclat. 


AL. HOWARD. 

“ Two-Foot Spin,” starting backward. 

This is executed in the same manner as the u two-foot 
spin,” already described, with the exception that he starts 
backward, which is peculiar to this graceful skater alone. 


WILLIAM H. CIIEESEMAN. 

“ Toe-Steps ” and “ Loops.” 

This finished skater performs these movements with so 
much ease and grace that we set them down as his special¬ 
ties. 


Specialties of Prominent Skaters. 


77 


ABRAM BAUDOUrNE. 

Letters. 

The specialty of this prominent skater is catting letters 
on the ice, which is doue with the heel of the skate, he 
being able to cut the whole alphabet, shading each letter 
beautifully. 


CHARLES W. JENKINS. 

Beautiful Designs upon the Ice. 

This graceful skater is peculiarly noted for the beautiful 
designs which he executes upon the ice. 


JACKSON HAINES. 

“ One-Foot Spin,” peculiar. 

This world-renowned skater’s great specialty is, doing a 
“ one-foot spin,” and, while revolving, stooping so low that 
his balance leg must necessarily be perfectly horizontal to 
clear the ice, then rising gradually and finishing the spin 
upon his toe. 


CHARLES V. DODGE. 

“ Combination Spin.” 

•-Start on a cc two-foot spin ” with good speed, and gradually 
slacken it. As your speed is slackened, jump on the toes 
and hold them to the ice until the feet are wound around 
each other, then drop them as they are, and you will form a 
“cross foot” and “two-foot spin” combined. 

There are probably a hundred other prominent skaters 
whose specialties we are unable to procure. If this work 
meets with the approbation of the public, we will in the 
next edition endeavor to make this article more complete. 


ONE-SIDEDNESS A DEFORMITY. 


“The left is the weaker side of man.” We are fully 
aware of this important fact, and being aware of it are con¬ 
sequently possessed of the idea that the left side, with its 
members, should be taught to perform its work equally with 
the right. There can be no doubt of our ability to do this, 
as we have evidence of it in those persons who, by habit, 
have accustomed themselves to the use of the arm, leg, and 
fingers of the left, to the neglect of the other side of the 
body. f 

It was clearly demonstrated years ago, by Prof. Walker 
in his unsurpassed and beautiful work on Exercises for 
Ladies , that “ the one-sidedness with which nearly all the 
acts of life are performed is the general cause of the great 
est and most universal deformity, and that its prevention 
requires an equal and similar use of the other side.” 

The attention of the reader is called to this important 
fact, because of the natural predisposition to the use of the 
light foot to the almost utter neglect of the left, in conse¬ 
quence of the natural habit of depending for strength, in the 
support of the body, more upon the right than the left leg 
and foot. 

Very few of our prominent skaters are able to perform 
with as much ease and precision upon the left any one of 
the various movements which they can perfectly accomplish 
upon the right foot. Habit has accustomed them to the 
use of the right foot, and the weakness of the left is too 
apparently perceptible. Yet there is no sufficient excuse 


0JYE- /SlDEDXESS A DEFORMITY. 


79 


for this one-sidedness. It is the careless and injurious ne¬ 
glect of exercising the left limb which renders it unequal in 
performance to the right. 

This habitual neglect of the use of the left foot is very 
detrimental to the progress of the skater in the acquire¬ 
ment of proficiency in the art, as, from neglect, the left must 
be weaker than the right, and therefore incapable of an equal 
performance. The consequence is, that the movement and 
the figure described will be one-sided and unsymmetrical. 

The avoidance of this fault should be the care of the 
beginner, and the correction of such deformity the study 
of the one-sided skater. 

Let the learner always remember that, if the left foot is the 
weaker, practice on it all the more ; if there is a disinclination 
to its use, use it all the more , until the weakness is conquer¬ 
ed. In every new movement you acquire, be careful that 
you teach the left to do its duty until it is as proficient as 
the right. 


GRACEFUL SKATING. 


It would be difficult for us to overestimate the value of 
grace to the skater. It should permeate his every move¬ 
ment; for in this lies the charm to the beholder. There is a 
delightful sensation in beholding a graceful skater skimming 
the surface of the ice, almost as silently as a shadow; and 
when a fairy skater, in her neat costume, glides over the crys¬ 
tal surface to the tune of her twinkling feet, the rhythm of 
her motion in harmony with the sparkling smile upon her 
face,. 

“ Grace in all her steps, heaven in her eyes,” 

f 

the insensate breeze wantoning carelessly with her form, 
and sweeping her beautiful tresses in a rollicking race all 
over her peach-colored cheeks, their rosy hue attesting her 
wild enjoyment of the sport, careless in every movement, as 
of the ice was her element and the skates her throne, gliding 
hither and thither in the most intricate tangles and extri¬ 
cate curves, as if volition was the result of thought and the 
fun of skating was a natural gift, 

“ Her grace of motion and of look, the smooth 
And swimming beauty of her step and tread. 

The symmetry of form and feature, set 
The soul afloat, even like delicious airs 
Of flute and harp,” 

the whole figure breathing of harmony and witching beauty, 
from 

“ The fairy foot 

Which shines like snow, and falls on earth as mute,” 


Graceful Skating. 


81 


to the laughing face which tells of the joy in the heart, which 
will ripple away on the breeze and steal the wrinkles out 
of the face of the beholder, placing a smile there instead, 
while the heart will vibrate with every pulsation of the 
skates, till the fairy glints from your sight and leaves the 
impression of a beautiful dream. 

There- are those who are naturally graceful, the bulk of 
which are women. There are those, also, who are naturally 
ungraceful. There are few, however, especially among 
those who possess symmetry of form, incapable of attaining 
a graceful bearing by close attention to every movement, 
carefully regulating them by the laws which govern each 
motion and render a graceful action of the limbs and body. 

A natural air, an unassumed easiness of motion, elasticity 
and lightness of step, harmony of movement, softness, plia¬ 
bility, and elegance in the disposition of the limbs, an 
insensible melting of one movement into another—this is 
grace. 

Grace is difficult of acquirement; but the boorish country 
clown may oftentimes become the finished gentleman of the 
court of France. 

Affectation is the greatest enemy of grace. No motion 
can be graceful if it is aftected. Grace must flow as natu¬ 
rally as if it is the offspring of nature. 

Gallini says: “The simplicity of nature is the great 
fountain of all the graces, from which they flow sponta¬ 
neously, when unchecked by affectation, which at once 
poisons and dries them up. 

“ Nature does not refuse cultivation, but she will not bear 
being forced. The great art of the dancing-master is not 
to give graces, for that is impossible ; but to call forth into 
a nobly modest display those latent ones # in his scholars, 
which may have been buried for want of opportunities or of 
education, to break forth in their native lustre, or which 
have been spoiled or perverted by wrong instruction or by 
bad models of imitation.” 

To women especially grace is even more essential than 


82 


Graceful Skating. 


to man; for in them we naturally look for gracefulness and 
beauty of deportment, and the mind must be naturally 
depraved that does not make this an important necessity to 
woman. Women, being finer in their formation than men, 
are necessarily constituted with a stronger tenacity of feel¬ 
ing, and possess a quicker perception and a greater love of 
the beautiful, with a wonderful openness to impressions. 
Woman’s sensibility is lively, and, her formation being 
smaller, she is naturally quicker in her motions as well as 
in thought. 

These facts being patent, we think it is only necessary to 
give the proper position of the body and limbs, and their 
love of gracefulness will lead them to adopt them. 

Man is differently constituted. It was intended, by a 
divine Providence, that man should be the support of 
woman, while woman, formed in his image, but more beau¬ 
tiful, should be the “helpmeet ” leading man to higher and 
more beautifully virtuous thought and action. The woman 
who does not follow this intended line of duty is unworthy 
the name which God bestowed with all its endowments 
upon her when she was formed. 

Men are, therefore, less prone to gracefulness than women, 
yet there is scarcely one who does not worship gracefulness 
in others. The thoughts of men are directed into a different 
channel from that which women pursue. The cares and 
duties of life are entirely different in the sexes, and while 
the great and absorbing desire of woman is to be loved, that 
of man is the accumulation of wealth and honor. Graceful¬ 
ness of movement in man is secondary to an ulterior object, 
and consequently we find men oftener lacking in grace than 
displaying it. 

Beauty of form is not always essential to grace; but a 
hump-backed man can not, to the eye, be graceful, though he 
move with the easy grace of an Adonis or the majesty of an 
Apollo. 

We naturally expect an evenness of form for a foundation 
of active grace, combined with the usual endowments of 


Graceful Skating. 


83 


nature, without the least affectation or any apparent study in 
motion. 

The reader undoubtedly has an ideal of grace, yet the 
imitation of it will not bestow grace, but, on the contrary, 
produce an affectation as ridiculous to the eye of the 
beholder as it is untrue in the object. Grace must grow to 
the figure. What would you think of a cow attempting to 
soar through the air with the majesty of the eagle? Yet 
ridiculous as the comparison may seem to be, as fully ridi¬ 
culous must be the actions of that man who imitates the 
movement and bearing of another. Disguise the donkey by 
cutting his ears and clipping his shaggy coat, alter his 
hoofs and change his tail, but he will not be a horse —the 
donkey will show out, and he will still be a donkey; but yet 
peculiarly attractive, perhaps, in his own sphere. So it is in 
human nature. One man may not be a model for another. 
We have a different individuality and a consequent original 
peculiarity of formation. In fact, no two things in nature 
are exactly alike. Even the leaves of the trees are different 
in their formation, and no two on the same tree are counter¬ 
parts one of the other. 

Consequent on this difference of formation is the necessity 
of difference in the bearing of the body and its members. 
The finest harmony in action is not reduplication, but a 
blending of graceful attitudes. An all-wise Providence has 
constituted humanity in such a manner that one differs from 
another, and there is a delightful contrast in the blending of 
the whole. 

“ In every figured group, the judging eye 
Demands the charm of contrariety; 

In forms, in attitudes, expects to trace 
Distinct inflections and contrasted grace, 

Where art diversely leads each changeful line, 

Opposes, breaks, divides the whole design : 

Thus, when the rest in front their charms display, 

Let one, with face averted, turn away; 

Shoulders oppose to breasts, and left to right, 

With parts that meet, and parts that shun the sight. 


84 


Gra ceftjl Ska ting. 


This rule, in practice uniformly true. 

Extends alike to many forms or few.” 

In fact, not only should the attitude of each person be 
dissimilar to another, but one side of the person should be 
dissimilar in action to the other. For instance, in the 
Laocoou, as also in other sculpture, the right arm is raised 
while the left is depressed, and the right leg is firmly planted 
while the left is at rest. It will be noticed in walking that 
the left arm is advanced with the right leg, while the right 
arm and the left leg are depressed. This motion is natural, 
and as art is an imitation of nature, in the study of grace 
contrast should be the ultima Thule as it is the foundation 

An easy dignity and gentleness of motion, when once ac¬ 
quired, are not easily lost, and will display themselves in 
every action of the possessor, while he will be perfectly 
unconscious of the exhibition of grace which these pos¬ 
sessions will bestow. 

We have touched only upon those points which apper¬ 
tain to the skater, and we reluctantly leave the subject to 
the attentive consideration of the reader. A subject the 
acquaintance with which is so essential demands the study of 
the skater, and we hope he will give his attention to trea¬ 
tises on the subject of grace which are more erudite and 
formed by more subtle brains than that of the author of 
this, that the art of skating may be advanced, and the praise 
of it redound to the glory of the skater. 


; 


POETRY OF SKATING. 


Skating is unquestionably the poetry of motion, and the 
words poetry and skating are as closely allied as Venus and 
beauty . It is not singular, then, that the poets should have 
waked their lyres and tuned the strings to their harmonies 
in laudation of the art. 

We shall ask the indulgence of the reader in the insertion 
of the following extracts and original pieces, which will be of 
interest to those poetically inclined. 

The first is, we think, by Gardette, and entitled 


A SKATER’S FANCY. 

In the frosty moonlight, clear and dark. 
Gleams the virgin ice. There is not a mark 
Of the trenchant steel on its crystal sheen ; 
But to-morrow shall look on another scene. 

To-morrow the bright, fair sun shall glance 
On a scene as weird as a witches’ dance ; 

A thousand forms in a flying reel 

Shall scar this plain with their skates of steel. 

Hither and thither, in quaint device, 

They turn and wind on the sounding ice ; 
Skimming and whirling, and gliding slow, 
Like the spinning dervishes they go. 

Fluttering vesture of many dyes ; 

Crimsoning cheeks and scintillant eyes, 
Eddying, rippling, lo! they seem 
Flushed into life from an Eastern dream 1 


83 Poetry of Skating. 

Here are maidens as fair to see 
As the houris under the paradise-tree, 

That the prophet of Islam saith await 
His sons at the fabled Eden gate. 

And here are youths, with a glance as bold 
As ever an Arab eye did hold, 

And madcap urchins, and men of eld, 

All, all in this merry ice-dance spelled ! 

Thus, as we watched the moonlight fade, 

Gayly I spake to my silent maid. 

“ And to-morrow,” quoth I, “ if the sky be clear, 

We will join the glittering carnival here.” 

But the moon went down in a sudden cloud, 

And the lake was wrapped in a misty shroud ; 

And we saw the morrow’s sunlight glow 
On the loosened water’s tranquil flow. 

Then, as we stood by the flowing tide, 

I, to the maiden at my side, 

Sneered : “ Who trusts to a moonlit sky 
Puts his faith in a lustrous lie !” 

“ Even thus,” said the pensive maid, 

“ Love’s caprice from the heart may fade ; 

Melt like the ice in the morrow’s beam.” 

“ But mine,” I cried, “ is the constant stream !” 

One of the most beautiful harmonies that ever emanated 
from the brain of a poet is Lowell’s description of the frost- 
breath of the winter wind. If the perusal of it does not 
wake the soul to rapture, the reader may safely declare there 
is no poetry in him. 

“ It carried a shiver everywhere 
From the unleafed boughs and pastures bare ; 

The little brook heard it, and built a roof 
’Neath which he might house him winter-proof; 

All night by the white stars’ frosty gleams 
He groined his arches and matched his beams ; 

Slender and clear were his crystal spars 
As the lashes of light that trim the stars; 


Poetry of Skating. 


8 


He sculptured every summer delight 
In his halls and chambers out of sight ; 

Sometimes his tinkling waters slipt 
Down through a frost-leaved forest crypt, 

Long, sparkling aisles of steel-gemmed trees. 

Bending to counterfeit a breeze ; 

Sometimes the roof no fretwork knew, 

But silvery mosses that downward grew ; 

Sometimes it was carved in sharp relief— 

With quaint arabesques of ice-fern leaf; 

Sometimes it was simply smooth and clear 

For the gladness of heaven to shine through, and here 

He had caught the nodding bulrusli-tops, 

And hung them thickly with diamond drops. 

Which crystaled the beams of moon and sun, 

And made a star of every one ; 

No mortal builder’s most rare device 
Could match this winter palace of ice ; 

’Twas as if every image that mirrored lay 
In his depths serene through the summer day, 

Each flitting shadow of earth and sky. 

Lest the happy model should be lost, 

Had been mimicked in fairy masonry 
By the elfin builders of the frost.” 


CHlSRIE NATALIE. 

BY “ MAItCIE.” 

The pale, cold moon streamed down on the ice. 
And painted many a quaint device 
Of tree and shrub, and forms so fair, 

Which flitted along like spirits of air 

And the glittering ice a mirror seemed, 

While the skaters wandered, as if they dreamed, 
Hither and thither, like rays of light, 

Or angelic stars in the quiet night. 

But one was fairer than all to me ; 

And I gazed in a gloaming of ecstasy 
As she fluttered, and rippled, and sped along, 
While a ripple of love was my beautiful song. 


88 


Poetry of Skating. 


And the harp of my heart with her step kept time. 
While her motion itself was a Runic rhyme ; 

And her silv’ry laugh as she sped away 
Attuned my harp to a rapturous lay. 

Ah Natalie cherie ! when hand in hand 
We skated among that happy hand, 

You little thought that among them all 
Twas you alone who held me in thrall! 

Away, away, in a dream of delight 

Our shadows followed us out in the night— 

Away we sped on the wings of the wind ; 

We spake not a word, but your touch was kind. 

Away, hut I could not keep pace with my heart, 
Though we skimmed along like the flying dart; 
And I held your hand while my glance grew bold. 
And what said I, cherie —the story of old ? 

And what did you answer ? My fingers trace 
Through your beautiful hair—in loving embrace 
I hold you to-night, as always in life, 

For now you are, dearest, my own little wife! 


The following does not pertain to skating particularly, 
but it is so beautiful we can not resist the temptation of 
giving it to our readers. It is by America’s greatest yet 
simplest and most retiring poet. 


THE SNOW-SIIOWER. 

BY WILLIAM CULLEN BRYANT. 

Stand here by my side, and turn, I pray, 
On the lake below thy gentle eye: 

The clouds hang over it, heavy and gray, 
And dark and silent the waters lie; 

And out of the frozen mist the snow 
In wavering flakes begins to flow ; 

Flake after flake. 

They sink in the dark and silent lake. 


Poetry of Skating. 


89 


See how in a living swarm they come 
From the chambers beyond the misty vail : 

Some hover awhile in the air, and some 
Hush prone from the sky like summer hail 
All, dropping swiftly or settling slow. 

Meet, and are still in the depths below, 

Flake after flake, 

Dissolved in the dark and silent lake. 

Here, delicate snow-stars out of the cloud 
Come floating downward in airy play, 

Like spangles dropped from the glist’ning crowd 
That whiten by night the Milky Way ; 

There, broader and burlier masses fall; 

The sullen waters bury them all— 

Flake after flake. 

All drowned in the dark and silent lake. 

And some, as on tender wings they glide 
From their chilly birth-cloud, dim and gray. 

Are joined in their fall, and side by side 
Come clinging around their unsteady way. 

As friend with friend, or husband and wife, 

Make hand in hand the passage of life. 

Each mated flake 

Soon sinks in the dark and silent lake. 

Lo! while we are gazing, in swifter haste 
Stream down the snows, till the air is white, 

As myriads by myriads, madly chased, 

They fling themselves from their shadowy night; 
The frail, fair creatures of middle sky, 

What speed they make with the grave so nigh— 
Flake after flake, 

To lie in the dark and silent lake! 

I see in thy gentle eyes a tear ; 

They turn to me in sorrowful thought ; 

Thou tliinkest of friends, the good and dear. 

Who lived for a time, and now are not; 

Like these fair children of cloud and frost. 

That glisten a moment and then are lost. 

Flake after flake, 

All lost in the dark and silent lake. 


90 


Poetry of Skating. 


Yet look again, for tlie clouds divide, 

A gleam of blue on tlie water lies, 

And far away, on tlie mountain-side, 

A sunbeam falls from the opening skies ; 
But the hurrying host that flew between 
The cloud and the water no more is seen. 
Flake after flake, 

All rest in the dark and silent lake. 


THE SONG}- OF WINTER. 

BY B. K. PIERCE. 

O’er the trees my mantle I throw, 

Woven throughout of purest snow; 

Their arms I hang with jewels fair, 

Resplendent in the frosty air. 

On glassy lake, in starry night, 

The skaters shout in wild delight; 

Or round the bright and cheerful hearth, 

Partake the purest sweets of earth. 

What season of the circling four 
Of richest blessings offers more ? 

Call me not, then, a tyrant king, 

As onward I come with fleecy wing. 

In a somewhat livelier strain than the above, and al¬ 
though not by far as deep, yet more to the point, reminding 
the reader of 

“ The many twinkling feet, so small and sylph-like, 
Suggesting the more secret symmetry 
Of the fair forms which terminate so well,” 

we ring a chime about 


SKATING WITH THE GIRLS. 

BY “MARCIE.” 

Come, girls, get on your jockey-hats. 
Dress in your skating-suits, 

Be sure to lace up snugly 
Your pretty little boots ; 


Poetry of Skating. 


91 


And we will all go skating, 

For tlie ice is clear and bright, 

The moon will soon be up, my dears. 
We’ll have a lovely night. 

Then soon we’re off, a little hand 
Tucked snugly ’neath each arm, 
While all the boys are making love 
And keeping darlings warm. 

Oh! don’t you think it’s jolly, 

Mixing up one’s self with curls, 
And going off on moonlight nights 
Skating with the girls ? 

But when it comes to putting on— 
Lord, love us! an’t it nice 
To hold the darling’s little foot ? 

You have to be precise. 

Or the skate won’t fit so snugly ; 

So with many twists and twirls, 
How long it takes in putting on 
The skates of pretty girls! 

The foot’s so small, so very trim. 

The boot so high and neat; 
Perhaps a glimpse of stockings white 
May cause your heart to beat! 

It takes so long to put on skates 
Of pretty ones with curls ; 

And yet—we wish we always could 
Go skating with the girls! 


OUR SKATER-BELLE. 

Along the frozen lake she comes 
In linking crescents, light and fleet; 

The ice-imprisoned Undine hums 
A welcome to her little feet. 

I see the jaunty hat, the plume 
Swerve bird-like in the joyous gale— 

The cheek lit up to burning bloom, 

The young eyes sparkling through the vail. 


92 


Poetry of Skating. 


The quick breath parts her laughing lips, 

The white neck shines through tossing curls; 
Her vesture gently sways and dips, 

As on she speeds in shell-like whorls. 

Men stop and smile to see her go; 

They gaze, they smile in pleased surprise; 
They ask her name; they long to show 
Some silent friendship in their eyes. 

She glances not; she passes on ; 

Her steely footfall quicker ring'fe; 

She guesses not the benison 
Which follows her on noiseless wings. 

Smooth be her ways, secure her tread 
Along the devious lines of life, 

From grace to grace successive led, 

A noble maiden, nobler wife! 


GRACE. 

BY “MARCIE.” 

“ Grace was in all her steps.”— Milton. 

A pleasing form by nature cast, 
Erect, and comely too, 

With ev’ry motion elegant, 

And ev’ry gesture true. 

A bearing softened by the charm 
And elegance of ease, 

The attitude a pleasing sway— 

Art gives no charms like these. 

Sure in the step, yet flowing, free 
As zephyrs float in space, 

Like babbling waters in the spring, 
Limpid, yet full of grace. 

’Tis such resistless grace imparts, 
Such nature forms to please; 

An elegance devoid of art, 

And grandeur lost in ease. 



Poetry of Skating. 


93 


The while we gaze in pleasant dream, 
The senses lulled to rest. 

The glowing eye, the beaming brow, 
Thy gracefulness attest. 


THE ICE. 

BY L. J. B. 

I walk beside the waters, but I can not hear them roll; 

The ice is on the rivers yet; the ice is on my soul: 

On the bottom of the river, where the ice gleams white above, 
There lieth, ’mid the waters, the body of my love. 

Where the deep pool, brimming over, lavos the shore of my 
despair, 

And the ice that bounds my spirit is the blackest in its glare, 
On the bottom of my soul, in its dark and sluggish tide. 

There lieth, ’mid the waters, the spirit of my bride! 

So I walk beside the waters, and can not hear them roll; 

The ice is on the rivers yet; the ice is on my soul: 

But the rivers, with the coming of the summer, will be free, 
And the sunshine of her presence may not melt the ice for me 1 


To relieve the mind of the dull dreaming just submitted, 
we wish to give something at the other extreme, and well 
worthy the pen of Brantz Mayer. It is a jeu cVesprit , re 
sembling the brilliant side (Pcsplits of the great Cook, and 
is a hit upon 


DR. KANE. 

From the dawn of creation the name of old Cain 
Has been cursed as the author of slaying ; 

But glory awaits in our age on the Kane 
Who slays not, though famous for sleighing. 
So fill up the cup to the Kane of the Pole , 
Whose marvelous tale, though no fable, 
Attests that, for generous deeds of renown, 

Our Kane in reality’s Able. 


94 


Poetry of Skating. 


JACK FROST WILL BE HERE. 

BY “MARCIE.” 

The Summer has passed with its vesture of green. 
And the purple of Autumn is here ; 

Old Boreas, herald of Winter so keen, 

Bears Summer away on her bier ; 

While the winds sing a requiem over her tomb, 

The leaves are her shroud, and the sky is in gloom. 
And Evening brings tribute—a tear. 

Jack Frost will be here with a beautiful web, 

To weave us an intricate woof; 

And his breath on the waters will stifle their ebb. 
While he builds them a crystalline roof ; 

And knitting and weaving, with fingers so cold, 

Each drop to another imprisoned he’ll hold, 

Nor keep him from ocean aloof. 

Jack Frost will be here, and he’ll build us a floor 
Of crystal as deft as the sheen 

Of the waters of Summer; then out from the shore 
The skaters in glee will careen; 

And we’ll scar the ice with our gleaming steel. 

As we glint along in a rapturous reel, 

For the ice is our own demesne. 


SNOW-BALLING. 

The soft, loose gold of her tresses 
Is straying about her face. 

And the wind through its silken meshes 
Is running a frolicsome race. 

Her violet eyes—how they darken and flash! 

Her rose-red cheeks—how they glow! 

As she stands ankle-deep in the milk-white drifts. 
Pelting me with the snow. 

She presses the soft flakes round her, 

In her pretty, hoydenish play, 

And she looks like a sea-nymph rising 
Through the billows of foam and spray. 



Poetry of Skating. 


95 


She moulds the halls with her little, hare hands— 
Do you think she would pout or scold 
If I nestled the pink palms down in my breast 
To warm them ?—they look so cold. 


Her white woolen mittens are flung on the snow 
Each one in itself a flake; 

And her silken scarf beside them lies, 

Coiled up like a crimson snake. 

All about me the tracks of her soft, brown feet 
Have printed the downy snow. 

And I know by them where, another spring, 

The prettiest flowers will grow. 


She laughs and scoffs when my snow-balls fly 
Harmlessly over her head ; 

And she flirts her curls in a saucy way. 

And crouches in mimic dread. 

She calls me a sorry marksman— 

An awkward fellow—and still 
She, sly little witch, knows well enough 
It isn’t from lack of skill. 


Gay, beautiful Madge! Oh! what would she do 
If my mouth was half as bold 
As the crystals which fall on her lips and hair, 

Like pearls among rubies and gold ? 

Will her pride and her willfulness trample my love, 
As her feet have trampled the snow? 

That the missiles she flings, that are ice to my face, 
Are fire to my heart—does she know ? 

Sweet tease! Does she guess I am wondering now 
Whether she’ll over be, 

In the long, long future before us both, 

Any thing more to me 
Than a little hoyden with wild gold hair, 

And rose-red cheeks in a glow, 

Who stands ankle-deep in the milk-white drifts, 
Pelting me with the snow ? 


Poetry of Skating, 


MY SKATER-GIRL. 

BY “ MABCIE.” 

Twinkling feet, 

Small and neat, 

Peeping out from sly retreat; 
Neatest ankle e’er was seen 
Underneatli a crinoline. 

Eyes so bright, 

Stars of night 

Fade away and lose their light; 
While the lashes, drooping low, 
Modesty and shyness show. 

Peach-down cheek 
Blushes seek. 

For the little one is meek ; 

Though she leads you in a maze, 
Yet she does not love your praise. 

Auburn curls, 

Midst it pearls, 

To the sentient breeze unfurls, 

But the wanton, roving wind 
Never is to her unkind. 

Two dear skates, 
Tete-d-tetes, 

With them wonders she creates ; 
And with web and woof she’ll weave 
Fairy spells you can not leave. 

Fairy sprite, 

Day and night 

Weaving still with touch so light, 
You are weaving round my heart 
Dreams which never will depart. 

Fairy dreams, 

Till it seems 

Love lights on to ardent themes. 
While my heart is in a whirl, 
Pretty little skating girl. 



Poetry of Skating. 


97 


THE SNOW AT FREDERICKSBURG. 

BY LAURA C. REDDEN. 

Drift over tlie slopes of tlie sunrise land, 

0 wonderful, wonderful snow! 

0 pure as tlie breast of a virgin saint! 

Drift, tenderly, soft, and slow, 

Over the slopes of the sunrise land, 

And into the haunted dells 
Of the forests of pine, where the sobbing winds 
Are tuning their memory-bells ; 

Into the forests of sighing pines, 

And over those yellow slopes 
That seem but the work of the cleaving plow, 
But cover so many hopes! 

They are many indeed, and straightly made. 

Not shapen with loving care ; 

But the souls let out and the broken blades 
May never be counted here ! 

Fall over those lovely hero-graves, 

0 delicate-dropping snow 1 
Like the blessings of God’s unfaltering love, 

On the warrior-heads below ; 

Like the tender sigh of a mother's soul, 

As she waiteth and watcheth for one 
Who will never come back from the sunrise land 
When this terrible war is done. 

And here, where lieth the high of heart, 

Drift, white as the bridal vail 
That will never be worn by the drooping girl 
Who sitteth afar, so pale; 

Fall, fast as the tears of the suffering wife, 

Who stretclieth despairing hands 
Out to the blood-ricli battle-fields 
That crimson the eastern sands. 

Fall in thy virgin tenderness, 

0 delicate snow 1 and cover 
The graves of our heroes, sanctified, 

Husband, and son, and lover. 


98 


Poetry of Skating. 


Drift tenderly over those yellow slopes, 
And mellow our deep distress, 

And put us in mind of the shriven souls 
And their mantles of righteousness. 


FAREWELL, KING JACK [ 

BY “ MARCIE.” 

Fold up the steels and put them away. 

Ready again for a colder day, 

When old Jack Frost, with an icy hold. 

Will gather the waters into his fold. 

Sorry to part from us, long he staid, 

Pinching the cheeks of fair little maid ; 

Freezing the fingers we love so much ; 

Kissing the lips that we long to touch. 

Blowing her dress till a foot so neat 
Reveals itself in its sly retreat; 

Tossing her tresses all over her face ; 

Holding her form in his cold embrace. 

Whistling, singing, and humming his song 
Into the ears of the old and the young; 

Scatt’ring the snow-flakes about in his glee , 
Painting on windows a mystery. 

But Jack has gone to another domain. 

While Spring commences a milder reign. 

Breaking the chains of the king so bold, 

Loosing the waters from icy hold. 

Farewell, old king, but tarry not long. 

Return to us soon, and the skater-throng 
Will join in your glee, and chide your delay 
Though we doff the steels now and put them away. 


ROLLER SKATING. 


This style of skating has become so deservedly popular 
within the last few years that it is no more than justice to 
our readers that we should devote at least a few pages to 
the description of the skate, and point out the distinction in 
the operation of ice and roller skates. 



The above engraving shows the roller skate, which derives 
its name from the two hard-wood rollers at the toe and two 
at the heel. These rollers are turned or guided so as to 
make any desired curve by the oscillating of the sole plate 
or the proper inclination of the foot of the skater. The 
rollers sit squarely upon the floor, whether the foot is in¬ 
clined or upright, and in this manner sufficient adhesion is 
obtained to prevent the skate from slipping sideways while 
turning short curves. By thus dispensing with all rough, 
soft, or elastic substances, as formerly used upon the rollers, 
a very easy rolling skate is obtained. The point upon which 
the skater changes from inside to outside edges is quite near 



100 


Roller Skating. 


the foot, and screws, with elastic washers which hold the 
wheels, can be adjusted so as to afford more or less support 
for the ankle, while the foot is prevented from turning side¬ 
ways beyond a given point. It will be observed in our en¬ 
graving of the roller skate that straps are represented as ap¬ 
plied to it, but, by many, clamps are used instead. 

The supposition upon which good ice skaters generally 
start concerning these roller skates, that they can at once 
perform as well upon them as upon the ice skates, often 
times occasions great merriment. The working of the skate 
is different, and is perceptibly felt by the performer on his 
first essay upon them; but after getting the edges correctly, 
if he is a proficient ice skater, he soon becomes a proficient 
roller skater. 

The only difference of importance between roller and ice 
skating is in movements in which the skater turns from 
forward to backward, and in performing “ spins.” These 
movements are generally done on the centre of the skate 
upon the ice, while, in roller skating, the turns must be done 
on the heel or the toe. 

Roller skating is much easier of acquirement than ice 
skating; and regarding its healthfulness, we have only to say 
that our ideas upon the exercise of skating apply to roller 
skating quite as much as to ice skating. 

The learner may acquire upon the roller skates a good 
power of balance and a full knowledge of the different move¬ 
ments that are performed on the ice skates, which will 
enable him, after a little practice upon the ice in accustoming 
himself to the slippery surface, to reach the higher degrees 
with great rapidity. 

The sure footing of the skater upon the rollers enables 
him to execute the various movements with more ease and 
precision than the ice skater. We have seen the more diffi¬ 
cult movements, such as “ combination eights ” and 
“threes,” perfectly done, with an exactness that was as¬ 
tonishing. 

As public notice is brought to bear upon roller skating, 


Roller Skating. 


101 


its popularity increases with wonderful rapidity. An associa¬ 
tion was started in 1867 by a number of skaters in Cincin¬ 
nati ; the large Rink was floored over and opened to the 
public for roller skating, and the place was crowded to 
repletion every evening by lovers of the art. 

The u New-York Skating Association” and the “ Citizens’ 
Skating Association,” in New-York City, already have 
two large halls devoted to the exercise, and prominent 
ice skaters have made themselves proficient in the art of 
roller skating. Crowded rooms nightly attest the increasing 
popularity of the exercise, and healthy performers evidence 
the beneficial effects of roller skating by the roses on their 
cheeks and the beaming smiles upon their faces. 

One great advantage which roller skating possesses over 
ice skating is, that the skater is not obliged to conform him¬ 
self to the caprices of Jack Frost and the other treacherous 
elements of the season. For the roller skater, the pond is 
always free from snow, his floor is always hard and firm, and 
no treacherous “ trips ” or “ cracks ” are sprung upon him 
to bring him to earth. A lowering sky does not bring his 
spirits down to the ebb of disappointment, nor a scorching 
sun cause him to dream of a “ mushy ” surface on his pond. 
No precipitate ablutions taken through “air-holes” are 
liable to occur, and the “ball” is always up for the roller 
skater. 


SKATING CLUBS. 


A number of skating clubs, devoted to the advancement 
of the art of skating, have been formed during the past few 
years, and every season adds to the number. 

As “ in unity there is strength,” skating clubs, if properly 
conducted, tend more to the advancement of the noble art 
than any other means which can be adopted. Proficient 
skaters are thus brought together in unity of thought, and 
new ideas advanced and passed upon, crude movements are 
made perfect, new combinations find existence, and informa¬ 
tion is published more rapidly than by any other method. 
The noble spirit of emulation is ever rife and renders in¬ 
ducement to improvement. 

Another benefit accruing from skating clubs is, that 
novices in the art are offered facilities for the acquirement 
of the different movements such as can not be found else¬ 
where. By observation we learn more rapidly than by any 
other method. Good skating is communicable through the 
medium of the senses to those who are persevering and 
ambitious. 

Skating clubs should always remember that the main 
object of such associations is the advancement of the art of 
skating, and should never pervert their influence to other 
uses, such as would be liable to exert a deleterious effect 
Unity of thought should bring unity of action, and unity of 
action will undoubtedly accomplish the desired result. 

It is a sad fact that luxurious living induces disinclination 


Skating Clubs. 


103 


to exercise, and it is not, therefore, to the wealthier class of 
our cities that we may look for representatives in our skating 
clubs, save perhaps such as are self-made and accustomed 
from childhood to exercise as a necessity of life. Conse¬ 
quently the expenses of initiation and membership should 
conform as nearly as possible to the means of its poorest 
members, that the pleasure of association may not be a burden 
to them. A large membership will reduce the proportionate 
expense and give popularity to the art; every member 
should, therefore, have his heart in the work, and labor 
earnestly for the increase of membership, always bearing in 
mind that the life of the club will depend greatly upon the 
respectability of its members. 

Rules should be adopted, and uniformly and cheerfully 
but persistently carried out. A law that is not respected 
is worse than no law at all, for the neglect of it forms a 
precedent for the neglect of another, 

A delicate respect for the feelings of others should drive 
all thought of aristocracy, and every thing tending in that 
direction, from such associations. Nothing is a plainer 
evidence of ill breeding than the palpable desire to exhibit 
the wealth we may possess to the discomfiture of our poorer 
associates. No delicacy of feeling can have existence in 
such minds. The peacock in all its beauty is an object of 
pity because of its inordinate pride, notwithstanding its 
nature which the Almighty has given it. How much more, 
then, should we condemn those peacocks of fashion who strut 
around in their fine colors to the discomfiture of their poorer 
clad associates! Such a spirit should be suppressed, or the 
interest of the club will be at stake. 

Finally, let there be perfect harmony. As in life we 
should have respect for our brother’s infirmities, and as 
freedom of thought is an heirloom handed down to us from 
our martyr-ancestors, and all can not think alike, let us lis¬ 
ten with respectful attention to our brother, and let the 
majority rule. 


1 04 


Skating Clubs. 


We hope for the success of all skating clubs and associa¬ 
tions, feeling that the popularity and progress of the art 
depend greatly upon them; but we as sincerely hope that 
their membership may not be expressed by the word 
aristocratic , but rather by the preferable appellation, select. 


105 



THE AMERICAN SKATING CONGRESS. 


The necessity of a supreme authority for skaters had 
manifested itself with the increasing popularity of the art, 
and was felt all over the country, when a call was issued, in 
February, 1868, for a Congress of Skaters, to be composed 
of representatives from the various parts of the United 
States and Canadas. In answer to this call, a number of 
prominent skaters met in convention at Alleghany City, 
Pa., formed themselves into a congress, established under 
the name of “ The American Skating Congress,” adopted a 
constitution and by-laws, and went into regular operation. 







106 


The American Skating Congress. 


Previous to this time, all sorts of championship medals, 
belts, etc., had been extant and were questions of dispute. 
To give authority to a championship jewel, Messrs. Hervey 
& Johnson very opportunely and liberally presented to the 
Congress a gold and diamond medal, valued at over $500, 
asking that the Congress would adopt and authorize it as 
the Champion Jewel. (See engraving on previous page.) 

It was adopted, and subsequently, at a tourney of skaters 
held during the week of the meeting of the convention, in 
which four prominent skaters were entered, the medal was 
awarded to the successful competitor. 

A programme of movements to decide championship con¬ 
tests was offered and adopted. This programme was pre¬ 
pared with great care by the renowned and esteemed Eugene 
B. Cook, Esq., and comprises all the elementary movements 
known. We give it for the benefit of the reader, with 
definitions of the different movements. 



PROGRAMME OF THE AMERICAN SKATING CONGRESS. 


1. Plain forward and backward movement. 

2. “ Lap-foot,”—as field step and in cutting circle. 

3. Outside edge roll, forward. 

4. Outside edge roll, backward. 

5. Inside edge roll, forward. 

6. Inside edge roll, backward. 

7. Cross-roll, forward. 

8. Cross-roll, backward. 

9. Change of edge roll, forward—commencing either on 

outside or inside edge. 

10. Change of edge roll, backward—beginning either on 

inside or outside edge. 

11. (a.)— u On to Richmondthat is, cross one foot in front * 

of other, and with back stroke outside edge go 
backward or forward. 

(b.) —Reverse “ On to Richmond;” that is, going forward 
by forward outside edge, stroke given alternately 
behind each leg. 

12. “Locomotives;” forward, backward, sideways—single 

and double. 

13. Waltz steps. 

14. Spread eagles, inside and outside edges. 

15. Figure threes, (a .)—Beginning inside or outside edge. 

On field and in eight. Including 
“flying threes.” 

(b.) —Double three, beginning inside or 
outside edge. 


108 Programme of Skating Congress. 

16. Grape-vines. Including “Philadelphia Twist Vine,” 

etc. 

17. Toe and heel movements. Embracing pivot-circling, 

toe-spins, ( pirouettes ,) and movements on both toes, 
etc. 

18. Single flat foot spins, and double foot whirls. 

19. Serpentines, (a .)—Single foot—-forward and backward, 

right and left. 

(b.) —Following feet—forward and back¬ 
ward, right and left. In “ two- 
foot eight.” 

20. Figure eight on one foot, forward. 

21. Figure eight on one foot, backward. 

22. Changes of edge—single and double. 

28. One-foot loops, inside and outside edges. Simple and 
in combination. 

24. One-foot ringlets, inside and outside edges. Simple 

and in combination. 

25. Specialties. Embracing original and peculiar move¬ 

ments. 

26. General display of combined movements, at the option 

of the contestant. 

No points shall be given for a movement under the head 
of specialties, if the skater who executed it has executed the 
same movement during the programme. 

The judges shall, at the completion of each movement in 
a contest, mark on a slip of paper the number of points for 
each contestant, and deposit the slip in a closed box; these 
slips shall not be referred to till the close of the contest, 
when the judges shall foot up all the slips, and the number 
of points gained by each contestant shall constitute their 
award, which shall be final. 

The order of taking the ice by each contestant shall be 
decided by lot, and the number of figures to be executed 
shall be divided as nearly as possible by the number of 
contestants; the one drawing number one to skate first in 


Programme of Skating Congress. 


109 


the first division of figures, the one drawing number two to 
skate first in the second division, and so on through, the 
one drawing the last number to skate first in the last divi¬ 
sion of figures, whether that division shall comprise more 
or less figures than the former division. 


EXPLANATION OF PROGRAMME OF THE AMERICAN SKATING 
CONGRESS. 

1. Plain skating. The step not as long as a roll. 

2. Any step in which one foot laps the other, and carries 

the skater around in a circle. 

3. A long, curved slide on the outside edge ot the skate, 

on alternate feet, forward. 

4. A long, curved slide on the outside edge of the skate, 

alternate feet, backward. At the end of each slide, 
the skater may change the edge slightly, so as to get 
a good start on the other foot. 

5. A long, curved slide on the inside edge of the skate, 

alternate feet, forward. 

6. A long, curved slide on the inside edge of the skate, 

alternate feet, backward. 

7. A long, curved slide forward on the outside edge of the 

skate, crossing the 'balance foot over the other, and 
placing it upon the ice in this position. 

8. A long, curved slide backward on the outside edge of 

the skate, crossing, the balance foot over the other, 
and placing it upon the ice in this position. 

9. A long, double curve slide forward, starting on either 

edge, and changing to the other edge, making the 
slide on each edge of the same length. 

10. A long, double curve slide backward, starting on either 
edge, and changing to the other edge, making the 
slide on each edge of the same length. 


] i o Programme of Skating Congress. 

11. ( a .)—A movement having the appearance of walking 

forward, but going backward; the feet to be 
placed the same as in “ forward cross-roll.” 

(5.)—A movement having the appearance of going 
backward, while in reality the body is going 
forward. 

12. Any peculiar movement by which the skater can coun¬ 

terfeit the noise of a locomotive, either slow or fast. 

13. Any movement in which the skater goes around in one 

direction, keeping time to the music of a waltz. 

14. A movement in which the toes are turned out, and 

pointing in opposite, or nearly opposite, directions. 

15. («.)—A movement in which the skater turns on one 

foot from forward to backward, or backward to 
forward, and leaves a “ figure three ” upon the 
ice. 

(5.)—A double turn, making two “threes” joined 
together. 

16. Any movement in which the skater turns from forward 

to backward, and backward to forward again, keep¬ 
ing both feet upon the ice, and crossing them before 
each turn. 

1 7. Any movement which is done on the heels or toes, or 
on the flat or the edge of one skate, by aid of the 
toe or heel of the other. 

] 8. A spin done on the flat of one or of two feet. 

19. (a .)—A movement by which the skater goes in a ser¬ 

pentine course on one foot, without touching 
the other to the ice. 

(b .)—A movement by which the skater goes in a <c ser¬ 
pentine” course on two feet, without raising 
either foot from the ice. 

20. A “ figure eight,” done forward on one foot, without 

touching the other to the ice. 


Programme of Skating Congress. 


ill 


21. A “figure eight on one foot,” backward, without 

touching the other to the ice. 

22. A movement on one foot, in which the skater changes 

from one edge of the skate to another, without 
touching the other foot to the ice. 

23. A one-foot spin done on the edge of the skate, leaving 

an oblong loop or loops marked upon the ice. 

24. A one-foot spin on the edge of the skate, leaving a 

circle or circles marked upon the ice. 

25. Original or favorite steps of the skater. 







INDEX 


PAGE 

Preface. v 

Introduction—Exercise. 7 

Skating, as an Exercise, superior to all others. 16 

Skating Past and Present. 21 

The Skate. 23 

The old-fashioned “Turn-Over”. 24 

The “ New-York Club Skate ”. 24 

Adj usting the Skate. 27 

Dress of the Skater. 28 

The Shoe. 31 

The Ankle. 33 

Learning to Skate. 35 

Rules for the Beginner—Practice in the House. 37 

Rapidity versus Grace. 40 

Position of the Body, Head, Hands, and Shoulders. 41 

Plain Movements. 44 

“Plain forward movement”. 44 

“ Plain backward movement ”. . 44 

“ Outside edge roll forward ”. 45 

“ Outside edge roll backward ”. 46 

“ Inside edge roll forward ”. 47 

“ Inside edge roll backward ”. 48 

“ Lap-foot forward ”. 48 

“ Cross-roll forward ”. 49 

“ Cross-roll backward ”. 49 

“ Changes of edge roll forward ”. 50 

Fancy Skating. 52 

“ On to Richmond ”. 52 

Reverse “ On to Richmond ”. 52 

“ Locomotives ”. 53 

“ Waltz-Steps ”. 54 

































114 


Index. 


PAGE 

Fancy Skating: 

“ Spread Eagles .... 54 

“ Figure Threes ”. 55 

“ Figure Eight ”. 57 

“ The Grape-Vine . 58 

“ Philadelphia Twist,” single. 58 

“ Philadelphia Twist,” double. 59 

“ Toe-Steps ”. 59 

“Spins”. 61 

“ Serpentines ”,. 62 

“ Figure Eight,” on one foot. 63 

“ Changes of Edge ”. 64 

One-foot “ Loops ”. 65 

One-foot “ Ringlets ”. 65 

Combination Skating. 66 

Combination Movements. 67 

Combination “ Eights ”. 67 

The “ Eight ” by two persons. 67 

The “ Eight ” by four persons...'. 67 

The “ Eight ” by eight persons. 68 

The “ Rose ” Movement. 68 

Combinations in “ Threes ” .... . 69 

The “ Flying Scud ”. 70 

The “ Mercury ”. 70 

The “ Bishop Eight ”. 71 

Combinations in “ Toe-Steps ”. 72 

Specialties of Prominent Skaters. 73 

Eugene B. Cook. 73 

E. T. Goodrich. 73 

Callie Curtis. 74 

Eugene W. Pratt. 75 

James Meade. 76 

John Engler, Jr. 76 

John Powers...... 76 

Al. Howard. 76 

William H. Cheeseman. 76 

Abram Baudouine. 77 

Charles W. Jenkins. 77 

Jackson Haines. 77 

Charles V. Dodge. 77 

One-Sidedness a Deformity. 78 

Graceful Skating. 80 











































Index. 


115 


PAGE 

Poetry ot Skating. 85 

A Skater’s Fancy. 85 

Lowell’s “ Frost-Breath ”. 86 

Cherie Natalie. 87 

The Snow-Shower. 88 

The Song of Winter. 90 

Skating with the Girls. 90 

Our Skater-Belle. 91 

Grace. 92 

The Ice. 93 

Dr. Kane. 93 

Jack Frost will be Here. 94 

Snow-Balling. 94 

My Skater-Girl. 96 

The Snow at Fredericksburg. 97 

Farewell, King Jack !. 98 

Roller Skating. 99 

Skating Clubs. 102 

The American Skating Congress. 105 

The Championship Jewel. 105 

Programme of the American Skating Congress. 107 

Explanation of the Programme. 109 





























































*• 









































































































































5 Skates tnanu- 
factured by us under 
our Patents of April 
7 and May 12 will be 
known as the AM¬ 
ERICAN RINK 
SKATES, which 
term we have adopt 
ed as a distinctive 
trade-mark to desig¬ 
nate that class of our 
goods. 

The important fea¬ 
ture of these Skates 
is the POINTED 
TOE, by which toe- 
movements can be 
executed with more 
certainty and ease 
than on any other 
Skate. 

By confining our 
entire works wholly 
to the manufacture 
of fine Skates and 
nothing else, and having our stock rolled to gauge from the finest cast steel at the 
best English steel works, and by large expenditure in perfecting our special ma¬ 
chines for every branch of the work, we have succeeded in bringing our Skates to 
a uniform standard of excellence in design, workmanship , and material , which has 
made them the leading skate in the market for the past four years, and the favorite 
of the most noted skaters, as well as the general skating public wherever in¬ 
troduced. 

Every pair of our Skates is made and tested with the same nicety as the finest 
cutlery, in every detail of preparing the 6toek, tempering, workmanship, and fin¬ 
ish ; and our facilities for manufacturing are such as to bring the price of our goods 
within the reach of all. All our Skates bearing the imprint of our firm is a 
guarantee of genuineness. 


TEST IMONIAE8. 


Messrs. Barnet & Berry: 

We, the undersigned, do most cheerfully recommend your New-York Club 
Skates of ’67 to the Skating fraternity, as being in every respect superior 
skates. Your late improvements in Clamps make a neat, strong, and easily - 
adsusted fastening; and for beauty of design, durability, finish, and general 
workmanship, they excel all others, and their adaptability to fancy skating is 
acknowledged by all. 


A. J. Dupignac, President of N. Y. 
Skating Club. 

Charles W. Jenkins, New-York. 

W. H. Cheesman, 

E. Sauchincloss, 

Z. Lewis Edwards, “ 

W. A. Haines. Jr., “ 

J. C. Mead, 

A. MacMillan, Manager of Empire 
City Skating Rink. 

Hugh Mitchell, Manager of 5th Ave¬ 
nue Skating Park. 

R. J. Hervey, Manager of Keystone 
(Pittsburgh) Skating Rink. 

J. H. Johnson, Manager of St. Louis 
Skating Rink. 

W. S Robison, Superintendent Forest 
City Rink, Cleveland. Ohio. 

J. II. Murcii, Cleveland, Ohio. 

G. W. Lord, Boston. 

J. T. Ryan, Boston. 

C. V. Dodge, Long Island. 


Alfred W. Cooper, Montreal, C. E. 
Frank Swift, Champion of America. 
E. T. Goodrich, Chicago. 

Callie Curtis, Western Favorite, 
Chicago. 

E. W. Pratt, Champion of the North- 
West, Chicago. 

John Powers, Champion of the St. 
Lawrence. 

W. II. Roberts. Champion of Ohio. 
John Engler, Jr., Skatorial King. 
Miss Henrietta Bedell, New-York. 
Miss Nellie A. Dean, Chicago, Ill. 
Miss Sarah Tobey, 

Miss Louise Tobey, “ “ 

Miss Carrie Augusta Moore, New- 
York. 

Eugene B. Cook, Meteorologist of the 
New-York Skating Club, Hoboken. 
M. R. Clark, Skating Editor New- 
York Dispatch. 


BARNEY 


& BERRY, 


Sole Manufacturers and Patentees, 

SPRINGFIELD, MASS. 









HERVEY’S & JOHNSON, 



Ifader H©rv©y ? s f'altat* 

-• • •- 

Having met with such unexampled success in the building 
of Rinks in many cities of the United States, we are pre¬ 
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HERVEY’S & JOHNSON, 


BUFFALO, N. Y. 





THE 


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THE NEW-YOBK CITY 


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Would call the attention of Dealers, Amateur and Professional Skaters 
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NEW-YORK CLUB SKATE. 



Sizes: 8}, 9, 9£, 10,10.#, and 11 inches. 

PER PAIR. 

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On orders for five pairs to one address we will allow ten per cent 
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Remit funds by P. O. Order or Draft. We will not pay money- 
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Address all orders to PECK & SNYEEKj 

Cor. Arm and Nassau Streets, New-York. 


N. Ii.—Catalogues and Colored Sample Sheets of Jlase-liall Players’ 
Sujiplies, Skates, etc., sent free. 


















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